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Organic Upside Down ~Sacred Feminine~ Painting
France
Painting, Gouache on Canvas
Size: 39.4 W x 78.7 H x 0.1 D in
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About The Artwork
Painting / Drawing mixed media on the back of unglued unstretched linen canvas 200 x 100 cm (78,74 x39,37 in). The front is glued with gesso. * Possibility of stretching or not the canvas in the vertical or horizontal direction. * Ships not frame in a tube. * I chose to paint 'Organic Upside Down ~Sacred Feminine~' on the reverse side of an unstretched linen canvas, for its natural texture and tone. But also to mean that what cannot be seen is not necessarily nonexistent. My long-term project on surface and depth, here continues with an organic gestural vocabulary like a language of nature. This nature which only reveals itself in the background under a blank surface. I also talk about the Sacred Feminine as "a concept that recognizes that “God” ultimately is neither anthropomorphically male or female but a Divine Essence (Goddessence) beyond form and duality – an essence that is in balance and unification of masculine and feminine principles – a dynamic interdependent “Immanence” that pervades all life. The Asian Yin Yang icon is a good representation of this idea." * J'ai choisi de peindre 'Organic Upside Down ~Sacred Feminine~' ('Organique à l'envers ~ Féminin sacré ~') sur le verso d'une toile de lin non tendue, pour sa texture et sa tonalité naturels. Mais aussi pour signifier que ce qui ne se voit pas n'est pas forcément inexsistant. Mon projet à long terme sur la surface et la profondeur, ici se poursuit avec un vocabulaire gestuel organique comme un langage de la nature. Cette nature qui ne se dévoile qu'en arrière plan sous une surface vierge. Je parle également du Féminin Sacré comme "un concept qui reconnaît que" Dieu "n'est finalement ni anthropomorphiquement masculin ou féminin, mais une Essence Divine (Déesse) au-delà de la forme et de la dualité - une essence qui est en équilibre et unification des principes masculins et féminins - une «Immanence» interdépendante dynamique qui imprègne toute vie. L'icône asiatique du Yin Yang est une bonne représentation de cette idée. " * Handpicked by our Chief Curator and VP, Art Advisory Rebecca Wilson in the collection 'New This Week 04-26-2021'
Details & Dimensions
Painting:Gouache on Canvas
Original:One-of-a-kind Artwork
Size:39.4 W x 78.7 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:France.
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France
The work of Marijah Bac Cam questions the Memory of the Living through the Languages of the Feminine Principle (creative principle of Nature) by means of drawing, painting and increasingly photography and video. What does this chaos of fullness and emptiness mean, enhanced with dots, curves, golden wefts and gestural writing? In the artist's painting we perceive a Living being organized before our eyes, starting with the diffusion of black ink. These dark masses mingle with another color to symbolize the different elements, air, water, fire, earth, ether. Suddenly an organic mesh forms on the surface, connected to the misty depth. It is a question of reversal, as if to lead our gaze towards an inner world, that of the organs, tissues, vessels of an unrepresented body. These drawings express more sensibly an intuitive word in a vegetal and vibratory atmosphere that are our buried memories. They are the representation of the original past in a form that is no longer mental but metaphorical. Graffiti sometimes float here and there, like a palimpsest as if to inscribe a forgotten verbal dimension and question the meaning of forms. Her work evokes images that are almost figurative but difficult to identify. It's a question of everyone's point of view, seen from the sky or underwater, in macro or even in a wide shot. This collective memory seems to define and tell terrestrial and extra-terrestrial landscapes. Does Nature have a universal language that hides in our memory?
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