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Original Photo Print on Aluminum Backing - Fuji Crystal Archive, matte - Matte lamination - Alu-Dibond 0,12″ - Aluminum rails on the back

By the triptych composition of this work, as much pictorial as photographic, Nathalie De Zan interrogates the regenerative function of the artist. Her self-portrait takes on an iconographic meaning as soon as her “Trinity” is exposed. The avatar manifests the protean nature of the idea of unity. The three panels, arranged from left to right, offer a reading in the traditional sense of writing along with an ancient conception of the creation process. Superimposed on this first reading, is a second modern, Orphic reading: Like Ovid returned from Hell, the Creature finds itself metamorphosed, turning towards its Pygmalion. It is here the creator who is exposing herself, her work returned from among the dead, having found life. The observer is witness to a transformation, a metamorphosis, a modification of form, function, nature, and state. Classicism responds to modernity, creation surprises its creator, Golem is in turn moved by his Dr Frankenstein, then returned to his origin, his model (on the left, completing the Trinity). The model and the creator have, by turns, become monsters. This psychological figure is at the origin of its terrible metamorphosis: a destructive transformation of the Self into something completely “Other” where nothing remains for arbitrating the creative imagination than a fragile carapace, a bare façade.
Original Photo Print on Aluminum Backing - Fuji Crystal Archive, matte - Matte lamination - Alu-Dibond 0,12″ - Aluminum rails on the back

By the triptych composition of this work, as much pictorial as photographic, Nathalie De Zan interrogates the regenerative function of the artist. Her self-portrait takes on an iconographic meaning as soon as her “Trinity” is exposed. The avatar manifests the protean nature of the idea of unity. The three panels, arranged from left to right, offer a reading in the traditional sense of writing along with an ancient conception of the creation process. Superimposed on this first reading, is a second modern, Orphic reading: Like Ovid returned from Hell, the Creature finds itself metamorphosed, turning towards its Pygmalion. It is here the creator who is exposing herself, her work returned from among the dead, having found life. The observer is witness to a transformation, a metamorphosis, a modification of form, function, nature, and state. Classicism responds to modernity, creation surprises its creator, Golem is in turn moved by his Dr Frankenstein, then returned to his origin, his model (on the left, completing the Trinity). The model and the creator have, by turns, become monsters. This psychological figure is at the origin of its terrible metamorphosis: a destructive transformation of the Self into something completely “Other” where nothing remains for arbitrating the creative imagination than a fragile carapace, a bare façade.
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Triptych - Limited Edition 1 of 2 Photograph

Nathalie DE ZAN

United States

Photography, Color on Canvas

Size: 27 W x 39 H x 1 D in

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350 Views
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About The Artwork

Original Photo Print on Aluminum Backing - Fuji Crystal Archive, matte - Matte lamination - Alu-Dibond 0,12″ - Aluminum rails on the back By the triptych composition of this work, as much pictorial as photographic, Nathalie De Zan interrogates the regenerative function of the artist. Her self-portrait takes on an iconographic meaning as soon as her “Trinity” is exposed. The avatar manifests the protean nature of the idea of unity. The three panels, arranged from left to right, offer a reading in the traditional sense of writing along with an ancient conception of the creation process. Superimposed on this first reading, is a second modern, Orphic reading: Like Ovid returned from Hell, the Creature finds itself metamorphosed, turning towards its Pygmalion. It is here the creator who is exposing herself, her work returned from among the dead, having found life. The observer is witness to a transformation, a metamorphosis, a modification of form, function, nature, and state. Classicism responds to modernity, creation surprises its creator, Golem is in turn moved by his Dr Frankenstein, then returned to his origin, his model (on the left, completing the Trinity). The model and the creator have, by turns, become monsters. This psychological figure is at the origin of its terrible metamorphosis: a destructive transformation of the Self into something completely “Other” where nothing remains for arbitrating the creative imagination than a fragile carapace, a bare façade.

Details & Dimensions

Photography:Color on Canvas

Artist Produced Limited Edition of:3

Size:27 W x 39 H x 1 D in

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Nathalie De Zan is a French multimedia artist born in 1985 in Toulouse, France. She has a twin sister with whom she has a very strong bond with and tells about their relationship in some of her artwork. She developed early on a taste for art by her grand-mother who pushed for her to be sent to a children’s art school. Fascinated by art, color and poetry, she decided to go this path. In 2010 she graduated with a Master of Fine Art from the Jaurès University of Toulouse. During the first years at university she started to become fascinated by the French and German tales. She did an internship at the Collège de France in Paris with Patrick Imbert who taught her the photographic studio techniques. She did her first exhibition in 2009 after that she started to show her works in various places around France. After this period she really started to develop her own creative process using influences from her dreams. Her works remain autobiographical and show some attributes of feminism, pop art, and erotica. Absurd, surreal and sometimes naive, her artwork has become more and more full of colors. In 2016 she travelled to Japan which sparked her imagination and gave her the desire to play with perspective and sharp shapes. She moved in 2017 to the United States where she currently works and lives. Since then, she has shown her works in France, Italy and the United States. Her last shows were at Novado Gallery, Barsky Gallery, and Prime Gallery in the United States. More info on : dezannathalie.fr

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