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Screenprint produced in 1998 in the Dubois Sérigraphies workshops in Orléans. It is part of the publication of a set of art serigraphs produced with contemporary artists and assembled in a catalog entitled "Tant et Temps". It is directly inspired from an ink on paper, "Curva 10" from the Curvas series produced between 1994 and 1996. It is signed lower right and numbered 46/50. Sérigraphie réalisée en 1998 dans les ateliers Dubois Sérigraphies à Orléans . Elle s' intègre dans le cadre de la publication d'un ensemble de sérigraphies d'art réalisées avec des artistes contemporains et réuni dans un catalogue intitulé "Tant et Temps". Elle s'inspire directement d'une encre de chine sur papier, "Curva 10" de la série des Curvas réalisée entre 1994 et 1996. Elle est signée en bas à droite et numérotée 46/50.
Print:Giclee on Fine Art Paper
Size:10 W x 10 H x 0.1 D in
Size with Frame:15.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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J/Y Delaunay-Israel was born in France. He has been living and working in Jerusalem since 2015. Trained at the I.A.V. of Orleans and the Villa Arson (Ecole Nationale Supérieure d'Arts) of Nice, he then, in parallel with his artistic activity, worked as a nurse, a care executive and a director of care in psychiatry. At the end of his studies he decided to follow the voices of painting which, from the blown hands of Gargas to the prints of those of Jasper Johns in " Plongeur ", carried him from the banks of Support Surface to Motherwell and Ryman via Shi-Tao (" Les propos du Moine Citrouille amère ") and the ocean of Art Brut. Thus since 1984, he has been creating series on canvas or paper with different techniques (watercolour, acrylic, inks, oil, charcoal, pastel) whose titles are often inspired by literature or music: Composition " 1984/1989, " Prémices " 1988/1990, " Desseins " 1991/1994 , " Curvas " 1994/1996, " Patrimoine " 2000/2004 , " Les Bijoux " 2002/2006 , " Ellis Island " 2004/2013 , " Epiphanies hierosolymitaines " 2017/2019, " Dances/Ricoudim "2016/..., " Long distance call " 2017/..., " Songs without word/Nigounim" 2020/..., " Fugues " 2016/..., " Lishma " 2018/... Methodically, starting from principles of composition drawn from the history of art and geometry, he endeavours, day after day, to set the times of the appearance of the painting, the "history" of its advent. Thus, out of all preliminaries or premeditations, he leads several paintings at once. At each session he intervenes only once and without repentance, on a part of each of them, leaving paintings and reserves in suspense until the next time. Thus the painter's gesture is as if cut, both in its thickness and in its surface, into multiple interlaced transverse strata and shows the singular dialogue of the painting with the author of its appearance. His works have been regularly exhibited in France and Israel. Two catalogues published by the Centre d' Art Contemporain de la Scène Nationale d' Orléans have been devoted to him with texts by the painter Christian Bonnefoi "La pose du temps" and the art historian Tristan Trémeau "Peindre avec réserve". He himself has devoted several writings to his work as well as to the workshops of artistic practices and cultural projects he conducted at the psychiatric hospital.
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