Khaos & Ananké (2022) Painting by Jérémy Jacquin

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Seller Jérémy Jacquin

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Seller Jérémy Jacquin

Khaos et Ananké. Ananké, déesse issue de la mythologie grecque, est la personnification du caractère inévitable et nécessaire d'une chose, une instance inflexible gouvernant le cosmos. Dans le langage courant, ananké est un synonyme de destin. La rencontre entre le chaos primordial et Ananké est le point de bascule de la cosmogonie, la[...]
Khaos et Ananké. Ananké, déesse issue de la mythologie grecque, est la personnification du caractère inévitable et nécessaire d'une chose, une instance inflexible gouvernant le cosmos. Dans le langage courant, ananké est un synonyme de destin.
La rencontre entre le chaos primordial et Ananké est le point de bascule de la cosmogonie, la résolution intrinsèque d'un grand désordre primordial.

Indéniablement, il y a un parallèle entre le processus créatif ayant mené à la concrétisation de cette œuvre et cette histoire. Le fait de ne pas avoir de contrôle sur la taille finale de l'installation, son accrochage risqué, éphémère et effectué en l'absence d'un public et le sentiment d'avoir résolu et accompli quelque chose d'intime.

Œuvre changeante, toujours en cour d'agrandissement, chaque toile est a considérer dans son individualité comme dans son ensemble.

Related themes

CosmogonieCosmosMythologie GrecqueAnankéOlympe

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My first drawings took place in the margins of my college classes, made of confused and anarchic lines, some of them seemed to take common directions, forming inconsistent patterns, others ended up grotesque[...]

My first drawings took place in the margins of my college classes, made of confused and anarchic lines, some of them seemed to take common directions, forming inconsistent patterns, others ended up grotesque caricatures of my teachers. I was never worried when my works were discovered by the teachers because everything was so chaotic. I was even introduced to the work of Basquiat to encourage me. I was just asked not to exceed the margins, or to draw on loose sheets of paper.
Coming from a general curriculum, plastic arts option, I chronologically turned towards studying cinema, languages , food work, a diploma in cabinetmaking and work as a wood sculptor. I continued to fill my margins with drawings, overflowing with them more and more over time, making my notes more and more cryptic, the loose sheets ever more numerous.
Empirically, I I knew how to explore different techniques, different formats and develop a language that could be understood by the public without necessarily using words. I experience abstraction as the raw expression of feelings that are shared in the most direct way possible. It is the engine of introspection, crystallizes common feelings and makes the link between the world of ideas and material reality.
I always draw in the margins, but today they take up all the space. sheet.

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