Carborundum and drypoint on copper, printed on bfk rives paper 250g
Edition of 12
Dimensions: 76cm (H) x 112cm (W) / 29.9" (H) x 44.1" (W)
Note: Actual colours may vary due to photography & computer settings.
This work is made of 2 elements. Each elements' dimensions: 76 x 56 cm / 30 x 22 inches.
Edition of 12.
Pierre Muckensturm added printmaking to his oeuvre since 2010.
The engraving and printing process allows him to further explore notions of time and perspective. Muckensturm is inspired by the concepts of calmness, constancy and temporality. His work visually expresses a sense of harmony with time.
In his prints, he begins with gestural marks, examining them in detail, transforming them gradually, exploring how they communicate differently as he alters their size, shape, depth, magnitude and orientation over time.
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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