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E-One Painting

Christophe Mercier

Switzerland

Painting, Ink on Canvas

Size: 4.7 W x 6.7 H x 0 D in

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About The Artwork

Part of a series of four small sepia-toned washes, "E-On", made in December 2023. The light opening in the dark, white and light-blue ink suggests a kind of window into the distance. It's executed with broad brushes, leaving plenty of room for chance and randomness. The dark blue is either indigo acrylic or blue ink. You can see the grain of the canvas in the solid color, which lends light despite the deep brown of the sepia. On the right and top left, a jet of salt on the still-wet wash provides a similar effect. (The name "E-On" is simply the reverse of the "No-E" canvas, made at the same time.) *** Fait partie d'une série de quatre petits lavis à dominante d'encre sépia, "E-On", faite en décembre 2023. L'ouverture de lumière, ménagée dans l'encre foncée, blanche et bleue claire, suggère une sorte de fenêtre vers le lointain. C'est exécuté avec des pinceaux larges, en laissant une large place au hasard et à l'aléatoire. Le bleu foncé est soit en acrylique indigo, soit en encre bleue. On perçoit le grain de la toile dans l'aplat, ce qui donne de la lumière, malgré le brun profond du sépia. Sur la droite et en haut à gauche, un jet de sel sur le lavis encore mouillé fournit un effet similaire. (le nom "E-On" est simplement l'inverse de la toile "No-E", faite en même temps)

Details & Dimensions

Painting:Ink on Canvas

Original:One-of-a-kind Artwork

Size:4.7 W x 6.7 H x 0 D in

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- Photo: Naples, Italy, March 2019 - Born April 1947, married, 2 children, 5 grand children. - Graduated in economics, then swiss banker in private banking from 1974 to 2007. - Started drawing in travel sketchbooks (self taught) at the age of 48 in 1995, and painting much later in 2007 at the age of 60. - Former "urban sketcher", from 2020, writer of historical novels. My desire to paint comes from the interest for expressing something aesthetic or gaudy, for finding an unstable equilibrium, for experimenting with different approaches, for renewal, testing, trying. Even though I’ve done mini-series, I don’t like to stick to one repetitive process. To me, painting is a dialogue between control and letting go and abstraction is of particular interest because it allows us to to express things that would otherwise escape our senses. It’s still a large field, even though everything is supposed to have already been made.

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