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Installation, Wood on Wood
Size: 98.4 W x 80.7 H x 98.4 D in
Ships in a Crate
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As a result of his previous photographic work, the installation of Richard Saint-Amans is entitled - The Doubt - The eye can linger along the furrows carved by time on this worm-eaten beam of 250 years of age, or search through the inclusion, the golden shards that mask the essential. Materials: Beam Oak wood - inclusion transparent resin - various surgical accessories - aluminum tubing - Neons and lamp. 3D crystal plexiglass frame - Wooden base. Customized shipping case and assembly instructions for exhibitions
2019
Wood on Wood
One-of-a-kind Artwork
98.4 W x 80.7 H x 98.4 D in
2
Not Framed
Not applicable
Ships in a Crate
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
France.
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Richard Saint-Amans is a French artist born in 1949 in Béziers. he lives and works near Versailles. Although he has attended art courses in differents schools, Richard Saint-Amans defines himself as an autodidact. His artistic debut as a teenager took him to photography, which he turned aside to create hybrid prints, the preconceptions of which are already being worked on. Arrive painting. His taste for American hyperrealism, Flemish primitives, his background as a photographer naturally takes him to a hyperrealist figuration. He then works on the issue of transparency and glazing in a demanding technical exploration. He ends up feeling cramped in this approach and the concomitant discovery of Japan confirms the abandonment of this path. By freeing himself from the constraints of the technique, he refocuses himself on the line, concentrating on gestures in a quasi-calligraphic approach. Inspired by Hans Hartung, he is interested in signs, traces and other bits of memory left on the walls. Mixing of supports and hybridization still between text and pictorial work. Thus, most of the numbers he walked away the sandstone of his inner paths, he comes to superimpose signs, substrates of an almost forgotten writing, producing abstract compositions, stripping, purifying his line for ever closer of the essence of the gesture, calligraphing the painting in a way.
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