Yule log cakes

Around the Winter solstice, we take shelter inside the house to savour some iced or pastry cream Yule log cakes. The cross-section view then allow to grasp the inside.

The cake slices also suggest all sorts of architectures: chalet, dome, izba, pyramid, hangar, ...

The arrangment obtained wavers between baking and architecture; I have no interest in the portrayal of reality.

The unstretched canvas crumples, embosses, creases, and allows depth increasing with the numerous layers of acrylic paint. To me, the specific nature of painting reveal themselves in the refusal of a flat and smooth surface like the one of a screen. I wish one could brush the canvas and feel its depth through the crests of the folds.

Essential too is the number of layers of paint, which make the color vibrate. A red laid on a green is richer even though the green is invisible. A red obtained fro, successive layers of pink and orange zhil never using the red acrylic tube once is much deeper.

Through its layers, the paiting falls within its time.

 
Galerie des Bûches

Au solstice d’hiver on se réfugie à l’intérieur des maisons pour déguster des bûches de Noël pâtissières ou glacées. La vue en coupe permet alors de traduire l’intérieur.

Les tranches de bûche offrent aussi une évocation de toutes sortes d’architectures: chalet, dôme, isba, pyramide, hangar…

La composition obtenue hésite entre la pâtisserie et l’architecture; la figuration du réel ne m’intéresse pas.

La toile non tendue se plisse, se gaufre, se froisse et permet un relief qui s’accroit avec le nombre important de couches de peinture acrylique. La spécificité de la peinture me parait là, dans le refus d’une surface plate et lisse comme celle d’un écran. J’aimerais qu’on puisse effleurer la toile et sentir le relief par les crêtes des plis.

Importance aussi du nombre de strates de peinture qui fait vibrer la couleur. Un rouge posé sur un vert est plus riche même si on ne voit pas le vert. Un rouge obtenu à partir de couches successives de rose et de orange sans jamais utiliser le tube d’acrylique rouge est beaucoup plus profond.

Par ses strates, la peinture s’inscrit dans le temps.

 

Yule cakes - most recent paintings

 


 

Around the Winter solstice, we take shelter inside the house to savour some iced or pastry cream Yule log cakes. The cross-section view then allow to grasp the inside.

The cake slices also suggest all sorts of architectures: chalet, dome, izba, pyramid, hangar, ...

The arrangment obtained wavers between baking and architecture; I have no interest in the portrayal of reality.

The unstretched canvas crumples, embosses, creases, and allows depth increasing with the numerous layers of acrylic paint. To me, the specific nature of painting reveal themselves in the refusal of a flat and smooth surface like the one of a screen. I wish one could brush the canvas and feel its depth through the crests of the folds.

Essential too is the number of layers of paint, which make the color vibrate. A red laid on a green is richer even though the green is invisible. A red obtained fro, successive layers of pink and orange zhil never using the red acrylic tube once is much deeper.

Through its layers, the paiting falls within its time.

 
 
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