I'm a native from Paris.
I studied ballet at the Conservatoire National Supérieur de Musique et de Danse in Paris before becoming a professional dancer in Germany. Therefore, I'm a former dancer.
I'm also graduated from the Université Paris Cité in applied foreign languages.
I know my city very well, Paris, once called "the city of lights" and I am still fond of her, and at the same time I feel very sad for her, .
What I enjoy the most is to “capture” details, this nearly invisible beauty who may be lurking anywhere for someone who knows her, beyond her gaudiness.
Some of these details already don't exist anymore, they were purposely destroyed with a will to ruin the successful combination of the past and present in Paris architecture.
My work about Paris became involuntarily, in a very short time, sort of a testimony of a sum of détails, that used to be and no longer is. Again in a blink. Or nearly so.
If Paris were a musical piece, the loss of its rhythm remains captive in my work and I do my best to catch in the present, this rhythm I used to know in the past. The melody's still there.
I'm also graduated from the Université Paris Cité in applied foreign languages.
I know my city very well, Paris, once called "the city of lights" and I am still fond of her, and at the same time I feel very sad for her, .
What I enjoy the most is to “capture” details, this nearly invisible beauty who may be lurking anywhere for someone who knows her, beyond her gaudiness.
Some of these details already don't exist anymore, they were purposely destroyed with a will to ruin the successful combination of the past and present in Paris architecture.
My work about Paris became involuntarily, in a very short time, sort of a testimony of a sum of détails, that used to be and no longer is. Again in a blink. Or nearly so.
If Paris were a musical piece, the loss of its rhythm remains captive in my work and I do my best to catch in the present, this rhythm I used to know in the past. The melody's still there.
I try to capture her transience and movement. My art is the translation of an emotion : it catches her movement at the moment it nudges me.
My work on Sylvie and Alice and Provence relies on the same principle and that's why my work is always involuntarily oniric and gives the impression that something is going to happen, to give, is missing ... Could be a sound, a light, a draught, any shape the movement (or its loss) might take.
For sale, my work is very lightly printed with line art.
I ink over the sketch, sculpt some lines and add the colors.
This makes each watercolor unique because my feeling will add some changes and another movement (here it goes again!) will be detectable.
I ink over the sketch, sculpt some lines and add the colors.
This makes each watercolor unique because my feeling will add some changes and another movement (here it goes again!) will be detectable.
Paper size goes from A6 to A3.
I use watercolour paper 300g (140lbs).
I use watercolour paper 300g (140lbs).
You can also place a specific order.
Such works will be quoted based on the order and its particularities.
Such works will be quoted based on the order and its particularities.
@Valérie Greifenberg