Impertinent Meadow Sylvain Louis-Seize

Mixed Media on Wood with Resin
48 × 72 inches
121.92 × 182.88 cm
Ask a Consultant Hold for 48 hours Purchase Share via email Sales & Shipping Policy

Purchase Impertinent Meadow

Send me more info on Impertinent Meadow

Please hold Impertinent Meadow for 48 hours

Louis-Seize’s latest paintings are fresh, lush explorations of our idealization of nature. The works raise questions about nostalgic representations of landscape and our increasing distance from the natural world. Working with an array of unusual materials - in addition to oil and acrylic, he uses tar, liquid metal, selenium, rare earth metals - to create the image, he then seals the work in a layer of resin, adding a gloss and patina to the work. This painting is framed with a two inch square wood frame. Excerpt from Louis-Seize by Betty Ann Jordon "There’s a tension in Sylvain Louis-Seize’s paintings between the sky-bound, splendour of nature and the pensive contemplation implied in his generally somber palette and darkened foregrounds. There’s a sense that we humans see things through “a glass darkly,” a ‘glass’ whose surface is clouded by heedless pollution of the environment. Consider one of his elegiac landscapes bathed in antique, diffused light: In the bile-coloured sky there’s a hint of impending precipitation. It’s the magic hour before dusk in this evocation of elysian solitude. Veiled hillocks and gullies exhale dew. Trees shift with vitality. Free of human presence, a shadowy field is spangled by an uncannily brilliant ribbon of water. Louis-Seize’s work has the initial look of a Romantic-style oil painting browned with age and candle smoke, but it also bears the drips, scrapings and scarifications that signal an ambivalence about beauty that is a defining characteristic of artists of his generation. “There’s a struggle between darkness and light when I paint,” Sylvain Louis-Seize explains. Segueing from the metaphysical to the physiological, he then alludes to art guru Hans Hoffman’s dictum about visual tension in abstraction, “It’s a push-pull thing.” A physical person, he brings the analogy down to his own life experience, likening the process of painting to Latin dance: “My materials are my partners,” he observes, swaying to an imagined beat, “and sometimes they lead.”

Alternate Views