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Syria#2 by Emmanuelle Mason
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Syria#2 by Emmanuelle Mason
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Syria#2 by Emmanuelle Mason
  • Type:  Original Art
  • Medium:  Prints > Screenprint
  • Style:  Figurative
  • Subject:  Politics
  • Year:  2014
  • Size:  110.0 x 80.0 x 0.1 cm
  • Ready to hang:  No
  • Frame:  No
  • Signed:  Yes, à la pince à gauffrer
  • Materials:  sérigraphies modulaires
  • Shipping:  Ships from France
110.0 x 80.0 x 0.1 cm

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Syria#2

|
By

Emmanuelle Mason

Prints110.0 x 80.0 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.

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$1,590.00
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
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More Works by Emmanuelle Mason

Syria #1

Prints - 110x80 cm

Komorebi#1

Drawings - 80x110 cm

Syria #6

Prints - 110x80 cm

Les cigales

Prints - 15x20 cm

Emmanuelle Mason

I mainly present my graphic work on Kazoart. Indeed, I never stop questioning the drawing, in a way where paper becomes a body, a territory, a "environment". Sometimes it is the paper itself that becomes drawing, while I cut it, burns it.

I present here different series:

The lace series (in progress)
The series of erotic drawings ("cut" and "burn") (in progress)
The series of disasters (Syria mainly)
The Dead Snetting Series
As well as some out -of -series works.

In these series, there is always an ambiguity, a look that is both fascinated and insurgent focused on a world that I struggle to bear. I point to, from the end of my pen, sometimes the unspeakable, sometimes the micro-drama, sometimes the disease or the romantic state. My subjects are not always easy, sometimes terrible, but always treated with delicacy, the virtuosity of the bill coming to "trap" the gaze that usually turns away. I try to replay this question of the sublime: which is beautiful and scary at the same time. Even when my work is tender, there is a cut, a burn, which tries to take care of the more ambiguous tone of the subject.

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