|Artist||BRISSON Pierre Marie|
|Size||22,44" x 17,71" Inchees|
Original carborundum etching signed and numbered by the artist.
Small run of 40 copies.
Manual intervention with paint hightlights. Each piece is different.
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BURNING IN CARBORUNDUM OR GOETZ METHOD
Born to a French-American family in 1909 the Goetz painter, to overcome the difficulties of engraving, began looking for a technique that does not use water.
He developed in 1967, after 10 years of effort, carborundum etching.
DEFINITION AND PRINCIPLE
Carborundum (silicon carbide) is a combined emanation of silicon and carbon, which is crystalline in nature and is similar to coal.
It is in the form of more or less fine-grained and has the distinction of strongly harden the materials with which it is mixed.
The recorder deposited on the metal or other support (plexiglass, ...) a paste of plastic resin (or other) and carborundum grains. Once dried, this very hard material has a relief. It is therefore not to incise a plate. The panel is used here only as a support for the added material, which is modeled asperities recessed and raised. This material has the advantage of retaining the ink with a wide variety of shades and structures.
From thereon, the printing process is identical to that of intaglio with the exception:
- The ink can be carried out both on the reliefs in the hollow,
- The shape given to the "matrix" smashes the paper and prints it in the press effect (up to 17 tons of pressure) as well as its negative colors applied by hand,
- The paper in thicker tank (600 gr) and humidified beforehand to soften it, is
The Goetz process used by painters is growing worldwide.
Variations of application and its technical possibilities are almost endless. Each artist reinvents and adapts the Goetz process open to the most diverse expressions.
Miro, Clave, Papart, Coignard, Hélénon, Brisson, including Cottavoz have applied or are still working with it always had innovation process.
Naturally it is possible to combine the carborundum etching with all other printing techniques.
The French painter Pierre Marie Brisson was born in Orléans June 11, 1955.
Child, Pierre Marie Brisson is passionate about prehistory and painting. By age 14, he made his first paintings.
In 1972 he met the painter Bernard Saby who encourages. In 1975 takes place his first exhibition at the Museum Charles Peguy Orleans. He then explains to Lucette Herzog gallery in 1978 and was introduced to printmaking in Pasnic workshop in Paris in 1979.
In 1980 he had his first exhibition in New York. In 1981, Pierre-Marie Brisson exhibits regularly in France, Germany, Sweden, Japan, the United States and Canada. His work is represented in New York Museums collections, Los Angeles and San Francisco.
1981 to 2006: Expose regularly in France, Germany, Sweden, Japan, Canada and the United States, where it is recognized as a major artist, present in many public collections (Fine Art Museums, Achenbach Foundation, San Francisco, Museum of Art, Fort Lauderdale, Postal Museum, Paris, Bibliothèque Nationale, Paris ...) and private (Mr. Pier Luigi Loro Piana, Société Générale ...)
Now lives between San Francisco, Paris and Aigues Mortes, near the vineyards of Scamander he helped itself among the great wines of the Rhone Valley.
"Always fascinated by the frescoes and old rugged walls I build my canvas by layering collages and paper which is added the color and register human forms, landscapes, plants and others. I turn all this too by creating accidents, grubbing for wear so that the whole is the link with our past. We find this same technique to my paintings on paper. "
Pierre-Marie Brisson draws inspiration from rock art and the fresco, which he seeks to reproduce the dreamlike and poetic echoes.
Through his technique between scraping and collage, his work focuses on the material and color. His decorations that take both the theater and the circus are defied by tightrope, lovers, birds, mountain climbers. Memory swathes suits us to unusual travel in the Camargue, in Pompeii, Morocco and Japan.
Characters and Brisson faces live by their movements and expressions, but the texture of the casing which gives them an aesthetic presence suggesting their inner lives and emotions which agitated.
GALERIE SOPHIE BOULAN - Copyright - Aforma - 2015