Village céleste / Celestial village (2019) Painting by Émilie Pauly
Sold by Émilie Pauly
This image is available for download with a licence
Sold by Émilie Pauly
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Original Artwork (One Of A Kind)
Painting,
Gouache
on Paper
- Dimensions Height 11.8in, Width 14.2in
- Artwork's condition The artwork is in perfect condition
- Framing This artwork is not framed
- Categories Naive Art Fantasy
Ce tableau représente un monde céleste. Sur un nuage vaporeux, deux maisons chapeautées, à deux visages, portent, sur la branche qui les relie, un petit oiseau vêtu d'un sarouel et d'une cape bleus, chaussé de babouches. Les deux maisons chapeautées à double visage représentent les parents de l'enfant oiseau. Chaque maison a le visage à la fois tourné vers son petit et vers l'extérieur. La mère (la maison bleue) prépare sans doute un gâteau car sa cheminée fume. Le père, la maison rose, arrose une plante bleue. Il semble vouloir faire pousser des astres, peut-être pour les offrir à sa famille. Les deux parents s'enlacent discrètement : les pieds des deux maisons se rejoignent et s'emmêlent, chacun offrant à l'autre une fleur en cadeau. Ce tableau est une métaphore de la famille : les regards tournés vers l'intérieur se portent sur les êtres aimés (la progéniture et le couple) ; celui tourné vers l'extérieur contemple la beauté de l'ailleurs : un ailleurs parfois oublié, fait de passions anciennes, d'aspirations et de rêves suspendus, d'idéaux toujours à atteindre.
Gouache on paper.
This painting depicts a celestial world. On a vaporous cloud, two hatted houses with two faces carry, on the branch that connects them, a little bird dressed in a blue sarouel and cape, wearing slippers. The two hatted houses with two faces represent the parents of the child bird. Each house has its face turned both towards its child and towards the outside world. The mother (the blue house) is probably baking a cake because her chimney is smoking. The father (the pink house) is watering a blue plant. He seems to want to grow stars, perhaps to give them to his family. The two parents are discreetly embracing: the feet of the two houses meet and intertwine, each offering the other a flower as a gift. This painting is a metaphor for the family: the gaze turned inwards is on the loved ones (the offspring and the couple); the gaze turned outwards contemplates the beauty of the elsewhere: an elsewhere that is sometimes forgotten, made up of old passions, suspended aspirations and dreams, ideals still to be achieved.
Related themes
Peinture De Village CélesteVillage Dans Les NuagesPeinture De Monde ImaginaireTableau FantastiquePeinture Poétique
A self-taught artist, I started painting around ten years ago, shortly after my son was born.
What led me to painting? Essentially the need to escape a boring working life, to reconnect with my childhood dreams at a time when I'd lost my way, and the desire to bring fantasy to everyone (young and old). I was fascinated by the magnificent illustrations I'd discovered in the children's books I'd read to my son, and I'd wanted to create my own images, my own paintings, that would tell the story of my inner world, my dreams, my fantasies, my ideals. I wanted to paint what moved me so that I'd never forget it, so that I'd have a memory of it that I could pass on and communicate.
When I create characters in pencil, I never know in advance what I'm going to draw. I let my hand go and then I see what appears. I like not knowing where my gesture is going to take me. I like to be surprised by what emerges from the first strokes of my pencil. I have the pleasant impression of accessing something of myself that had been lost (in my subconscious or in my distant memories, who knows?).
When I've collected a large enough number of pencil drawings, I look for the ones that could be put together in the same scene, the characters who could have adventures together in the same painting. I spend a lot of time creating these compositions. Once I've worked out which characters have something to say to each other and what setting they could be in, I start painting. I always paint my background first (a natural landscape) and then insert my characters. Everything is done in gouache.
Painting and drawing seemed to me to be more reliable means of expression than texts and speeches. As a linguist by training, I spent a long time working on words and the construction of meaning when I was preparing my doctoral thesis. The polysemy in languages can be so dizzying! Although I'm always sensitive to the poetry of literary works and the beauty of well-crafted arguments, I'm now less moved by them than by the poetry or beauty of images. Words, sometimes misleading or a source of misunderstanding, never colourful enough or on the contrary too saturated, can't do everything. When we no longer know what to say or how to say it, when words fail us, when silence imposes itself, painting, sculpture, music or dance can take over, for the pleasure of all.
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Nationality:
FRANCE
- Date of birth : 1977
- Artistic domains:
- Groups: Contemporary French Artists
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