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Abstraction 332 yia by Morgan Paslier
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  • Type:  Original Art
  • Medium:  Sculpture > Resin
  • Style:  Abstract
  • Subject:  Abstract
  • Year:  2023
  • Size:  50.0 x 50.0 x 3.0 cm
  • Ready to hang:  Yes
  • Frame:  No
  • Signed:  Yes, dos
  • Materials:  plexiglass
  • Shipping:  Ships from France

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Abstraction 332 yia

|
By

Morgan Paslier

Sculpture50.0 x 50.0 x 3.0 cm?
Artwork size

Artwork physical size measured as height by width by depth. Artwork purchased with a frame will usually be 5cm (2.5in) longer in each dimension.

Ships ready to hang?
Artwork ready to hang

This artwork is sold ready to hang. For additional information please see the artwork detail information.

$1,000.00
Original artworkOnly 1 available. Get it before it’s gone
Free & easy 14 days returns Learn More
Worldwide safe shipping Learn MoreShips from France by Thursday 28 November 2024
Trusted by leading brands including Soho Home

More Works by Morgan Paslier

Abstract-0298-Roma

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Abstract #418 - Chemin

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Abstraction #237 Time to sleep

Sculpture - 50x50 cm

Morgan Paslier

Morgan Paslier is interested in materials, textures and details. For his digital montages, he begins by searching for the material he is going to photograph. ## Morgan Paslier has been interested in photography since secondary school. Using a Lomo, he experimented with image creation. After a spell in the audiovisual industry as an assistant set designer and lighting assistant, he became a professional photographer. At the same time, he developed an artistic interest in the details of the materials he photographed on his travels and walks. The Marie Ricco gallery discovered his images by chance and decided to let him join the gallery to promote his work. ## Like Jacques Villeglé and Raymond Hains, Morgan Paslier has a fondness for the torn posters that cover cultural information boards. He particularly looks for zinc panels that have just been cleaned by the municipal services and on which only a few shreds of paper remain. It was these details that he first photographed, then digitised so that he could make digital montages by superimposing pieces of the images. This first montage forms the background of the work, onto which the portrait of a character or icon is superimposed, like a stencil.

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