View To Scale
View In Room
View To Scale
View In Room
Oil and mixed media on cut wood panels
Dimensions: 56cm (H) x 56cm (W) x 3cm (D) / 22" (H) x 22" (W) x 1.2" (D)
Note: Actual colours may vary due to photography & computer settings.
[ shorten squares and intershapes ]
The [shorten squares] are created by a curved erasure on the sides. It's an organic variation of the cross pattern which is more strict because it only appears when every corners of the square are pierced.
The [shorten squares] are conceived as crossed curves with an importance given to the out of frame. By being more a shape than a line, it offers some new balance between fullness and emptiness.
In the same way that [shorten squares] insist on perception of the fullness, the [intershapes] explore the residual blanks appearing between the erasures from [shorten squares]. The [intershapes] are also an opportunity for me to pay tribute to another alsatian artist : Hans-Jean Arp.
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Based in: Colmar
Pierre Muckensturm Is an abstract, minimal and concrete painter and print maker.
Born 1970 in Strasbourg, France. He now lives and works in Colmar.
He started to learn geography in 1989 and he specialized himself in land management at Science College of Strasbourg. Few years later, during his formation he met a professor from the Art College of Strasbourg who shared his passion for painting to him. From 1997 to 2001, Muckensturm attended art working groups which made him possible to present his first works during collective exhibitions at the Rhineland Center of Contemporary Art of Altkirch (France).
His first art collectors where architects, absorbing their passion for design and architecture Muckensturm discovered some unknown works of Le Corbusier : his Modulor theory and his edifice Notre dame du Haut.
Muckensturm says : “I discovered, more than 20 years ago, the chapel of Ronchamp, a late work of the architect Charles Edouard Jeanneret, known as Le Corbusier. I did not feel, either before or after, such a perception of the correctness of the possibilities between massiveness and elevation, between straight line and curved line. Then began for me this long search, which still feeds me today, aiming to approach the most appropriate relationship between full and empty, between linearity and curvature”
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