To mark the occasion, we have asked Emmanuelle Aussedat to create an original 3-colour lithograph, which we have printed on Velin d’ARCHES® 250 gsm paper.
Abstraction is never really abstraction as such It’s the interpretation of what we see and feel. This lithograph is part of a series entitled Landscape seen from a ‘plane. The redrawn, restructured shapes surrounded by black lines and the alchemy of line and material create a composition of a purified space, pared down to only what is essential for perception and sensitivity.
The numbered lithograph, etched on stone and signed by the artist, was printed in France using a Voirin press, in the Stéphane Guilbaud, Master of the Arts Workshop.
About Emmanuelle Aussedat
Emmanuelle Aussedat was born in 1956 à Paris. She entered the School of Fine Arts in 1975, going on to obtain the Paris Plastic Arts Higher Diploma, specialising in Drawing, in 1980. She then went on to specialise in Lithography in 1984 (obtaining First Class Honours).
Lithography has been part of her life ever since. This artistic technique gives the artist freedom in many ways (in terms of both the instruments and the techniques used) because it superimposes the layers of colour. Emmanuelle Aussedat chose to take an interest in colours and materials early on. As A.C.Dray has put it “Recent works by Emmanuelle Doërr Aussedat are soaked through with harmony, unity and sensitivity.” The picture is built up in the same way as a story. The shapes are solid colours in different tones, crossing or drawing apart, to wipe out or strengthen each other”. Moreover, in her work, everything is inspiring, but especially the journeys and the colours to be found in the landscapes: New-York, Japan, an Andalusian night …
Emmanuelle Aussedat uses precise, controlled architectural strokes. Colour is also extremely important here, leading Emmanuelle Aussedat to develop a fascination for black, varying from work to work – bright for some or deep and pure for others.
Emmanuelle Aussedat has her own press, which enables her to create small scale works and to keep her work purely artistic. This also enables her to be in a state of constant renewal.
The artist’s work may be seen in several museums in France and abroad, such as the Paris Modern Art Gallery, the French National Library, the France Air Museum, the Fundacion Actilibre and the Musée Reina Sofia in Madrid, or the BID Collection in Washington.
Stéphane GUILBAUD, Master of Arts
After studying at the School of Fine Arts in Paris, Stéphane Guilbaud began his career as a lithographer at the Atelier Desjobert in Paris in 1979. In his position at the head of the Atelier Arts Litho for fifteen years, he offered his know-how to many artists, gallery owners or international publishers. Alongside contemporaries such as Zao Wou Ki, Pierre Alechinsky, Oliver Debré, Francis Bacon, Arman and Daniel Authouart, or Corneille, Vladimir Velickovic, Zhang Xiao Gang, Yue Minjun and Yan Pei Ming, Stéphane Guilbaud forged his expertise and his perception, shaping his craftsmanship.
He is a member of the Grand Ateliers de France and is today continuing to work with the same energy, having been awarded the title of Master of the Arts in 2010; he also considers it extremely important to train those who will, in the future, be responsible for accompanying a work, which will become a picture.
The fact that we use ancient tools and continue to practise ancestral know-how does not mean that we, as craftsmen, are museum curators, nor that our workshops are sanctuaries.” “The use of ancient techniques in the service of extremely varied and highly up-to-date modes of expression serves as a daily demonstration as to how the practice of an artistic profession is not the veneration of ashes, but the celebration of fire. Our only nostalgia is for our future projects. A craftsman’s most enthralling experience is without a doubt the one he has dreamed up, and that he is preparing to live out tomorrow.