Pencil, color pencil and acrylic paint on bfk rives paper
Dimensions: 56cm (H) x 76cm (W) / 22" (H) x 29.9" (W)
Note: Actual colours may vary due to photography & computer settings.
This work titled
2026P3571 - [tilting movements of square with entas generating residual spaces]
is a part of the series called [entasis] developed by pierre Muckensturm since 2019.
The entasis is an architectural technique consisting of softly bowing a pillar. The point is to compensate the optical illusion that makes one see a concave pillar when it's fully straight.
This work is part of the series named "entasis". This series is based on this disruption caused by almost imperceptible convexity in an orthogonal system.
The point is to distort a strict build scheme with a nearly linear element, using almost nothing to create an imperceptible disruption.
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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