Blood stone #2
Product Code: SEL-SER-020
- Availability: This creation is waiting for you!
Description
Sébastien Lajoie explores philosopher's stones in this series of unique serigraphs on cotton. The pattern is created by hand, in pencil, by means of one or a few continuous lines which sometimes become a stable line, other times quivering or even a game of shading. In all cases, the technique is the same; tthe first line will serves as a model for the following one and so on, until creating a unique whole.
Once created, the pattern is screen-printed, often by means of multiple printing aimed at creating a thickness of ink visible to the eye. The relief therefore becomes very real.
The cotton piece proudly displays its frank ends, and sometimes even, traces left by the plastisol during printing.
Suggested installation at home; simple tweezers fixed by tacks or small nails.
Unique hand-made silkscreen on cotton, 9x12''
The artist
Sébastien Lajoie
St-Alexandre-de-Kamouraska
Attracted by physical work and by the acuity of strength movement, I quickly loved the screen printing on textile. I find this feeling there, when the blade passes over the silk with the resistance of the ink, a thick and dense plastisol.
I started by printing abstract patterns on clothes, leading to the creation of Agence Orange 21. I then used canvas mounted on a false frame, printed with rhythmic patterns within a production artistic that I was going to broadcast. Then, I end up developing an interest in textiles, particularly in grain and spinning, which have a great influence on the result of printing. By these details of fabric construction, my "screen-printed" images have been transformed and are more like weaving processes, always imbued with a system and mechanics.
In addition to my screen-printing research, I have always worked with wood, for the same reasons: the physical work of precision and the undeniable trace of action on thought. Wood leaves no chance, especially the stumps of rotten trees, which are always the first pieces to attract me. At the beginning, I worked the material with engravings, allowing me to wrap it, to distort it and make it less organic. Then, I started to use my printed fabrics to dress my sculptures as a designer would.
Sometimes I see huge organic and futuristic buildings, other times the influence of African art ... I like that my creations have several languages and several impressions at the same time.
Marriage, contrast, paradox and sensitivity, so many possibilities open up to this search for transcendence over matter, over color, in connection with this association of wood and textile according to principles of construction and mechanics in an esthetic determinant.
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