MORDILLAT Gérard;
The miracle of drawing according to Ernest Pignon-Ernest.
Henry Dougier Workshops
Regular price
€12,90
| N° d'inventaire | 26792 |
| Format | 13.5 x 19.5 |
| Détails | 120 p., some black and white illustrations, paperback with flaps. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9791031205168 |
Combining a romantic narrative and a historical investigation, the author tells the story of a famous painting.
Ernest Pignon-Ernest's works are only truly born in the city, when they blend in, when they become one with the walls on which they are stuck. They develop, shaped by time, bad weather, urban pollution, graffiti, stains, tears which, as improbable as it may seem, retouch them, reformulate them, explore them as if they had never left the painter's studio. Displayed on a wall in Naples, the portrait of Pasolini carrying his corpse requires those who look at it and who, sometimes, come so close that they press themselves against it to imprint themselves; to absorb it body to body, like a loving or deadly embrace.
It is a combat art.
Ernest Pignon-Ernest is a rebel.
Ernest Pignon-Ernest's works are only truly born in the city, when they blend in, when they become one with the walls on which they are stuck. They develop, shaped by time, bad weather, urban pollution, graffiti, stains, tears which, as improbable as it may seem, retouch them, reformulate them, explore them as if they had never left the painter's studio. Displayed on a wall in Naples, the portrait of Pasolini carrying his corpse requires those who look at it and who, sometimes, come so close that they press themselves against it to imprint themselves; to absorb it body to body, like a loving or deadly embrace.
It is a combat art.
Ernest Pignon-Ernest is a rebel.
Ernest Pignon-Ernest's works are only truly born in the city, when they blend in, when they become one with the walls on which they are stuck. They develop, shaped by time, bad weather, urban pollution, graffiti, stains, tears which, as improbable as it may seem, retouch them, reformulate them, explore them as if they had never left the painter's studio. Displayed on a wall in Naples, the portrait of Pasolini carrying his corpse requires those who look at it and who, sometimes, come so close that they press themselves against it to imprint themselves; to absorb it body to body, like a loving or deadly embrace.
It is a combat art.
Ernest Pignon-Ernest is a rebel.