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Liber abaci, 1 hare
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Liber abaci, 1 hare

Michel Saulnier

Product Code: MIS-GRA-01-PRU

$1,250.00
  • Quantity Available: 1

Description

Discover the series of prints Liber Abaci by artist Michel Saulnier, an ode to the complexity and harmony of the Fibonacci sequence. This sequence, popularized by Leonardo Fibonacci in his work Liber Abaci in 1202, is particularly known for illustrating the progression of a population of rabbits.

Characteristics:

  • Technique: Intaglio engraving on wood, enhanced with paint
  • Unique details: Colorful hares hand-painted by the artist and his son Léandre
  • Place of creation: Michel Saulnier's workshop in St-Jean-Port-Joli (2023-2024)
  • Framing: Handmade in hemlock by the Atelier 27x27
  • Support: Print printed on Somerset paper
  • Authenticity: Each work is unique, numbered and signed
  • Dimensions: Work of 13 x 15" (33 x 38 cm) and 18¾ x 20¾" (48 x 53 cm) with the frame

Collection


The artist

Michel Saulnier

Saint-Jean-Port-Joli

Portrait of Michel Saulnier

I first studied art history. I started painting between my bachelor’s and master’s degree. Soon enough practice took over theory, although I’ve always preserved the traces of my historian past. I taught Art History in college, I have been the curator for numerous exhibitions, and I cofounded Saint-Jean-Port-Joli’s artist residency, Est-Nord-Est. I started getting known in the ’80s by producing painted wood panels. My first bear, sculpted in 1984 during a symposium in Baie-Saint-Paul, became an object of communication that radically influenced my work.

My work is deeply rooted in childhood, art history and sculpture. I like to present many levels of readings and senses, to locate the real within the poetic space, and to allow a glimpse of other possible worlds. To date, I’ve produced around 30 public art projects as well as about 30 solo exhibitions in North America, Europe and Japan.


Creation process

The technique of wood engraving, specifically intaglio printing, involves embedding the ink below the surface of the wood, where it fills the finely carved lines. Once the ink is applied, the surface is carefully wiped clean to leave ink only in the incised areas. The next step is to place a damp sheet of paper, in this case, the renowned absorbent Somerset paper, onto the carved matrix, and pass it through a press exerting significant pressure. This pressure allows the paper to draw the ink from the grooves, transferring the image onto the sheet with precision.This ancient and demanding process, which I have mastered and adapted, is part of an artistic exploration inspired by Fibonacci's research. This approach adds a mathematical and harmonious dimension to the works, enriching the visual and symbolic experience.

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