Since 1989, the Louvre Museum and the Réunion des musées nationaux have entrusted contemporary artists with the task of producing engraved plates for Chalcographie, which ensures the exclusivity of the print run, without limitation on the number of prints.
Mireille Gros, Swiss painter and draughtswoman...
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Since 1989, the Louvre Museum and the Réunion des musées nationaux have entrusted contemporary artists with the task of producing engraved plates for Chalcographie, which ensures the exclusivity of the print run, without limitation on the number of prints.
Mireille Gros, Swiss painter and draughtswoman, works on the infinitely small and the emergence of the constituent elements of nature and life. "Instead of starting with a figure and moving towards abstraction, I probe the "nothing", to make "something" appear. The nano world is a metaphor. It's abstract and figurative at the same time. The link between support and subject makes sense in Mireille Gros's work on paper: thanks to the subtle nuances of the different sheets of white paper, veritable organisms are formed. Nature and the language of plants are omnipresent themes. In these two diptychs, rural flowers intertwine at their roots, reaching for the light and releasing their seeds, represented by fine dots, into the air.
Intertwined from the root, the country flowers grow, stretch and collapse with the wind.
A dialogue is established from its stems which caress and collide at the centre of the ordeal. They dance and accompany their volatile seed, transcribed by fine dots scattered in the air.
This theme of nature, the language of flowers, and their sexuality, is characteristic of Mireille Gros' work on paper.
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