'The Double-Lays' is a concept invented by Belgian artist Sophie Destrée inspired by a visit to an exhibition on Japanese design in 2012.
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Between symbolic order, the privilege of cultures and 'local reach' therefore, that represents the object chosified on a background often left white -not without suprematist connotation and faithful to a classical figurative painting (oil on canvas)-, and order of the sign which tends to abstain the meaning of the given object to raise it to the more universal level in the straight line of the phenomenon of globalization represented by the 'double-lay' whose additive support in transparent wax canvas uses a slogan, a sign drawn from the code of the road, from the contemporary design, from the graphics introducing an additional meaning to the meaning of the initial representation.
On the 2nd support thus affixed, the world of the sign represented with phosphorescent acrylic and essentially pink... PINK IS NOT DEAD!
Red being known as a revolutionary color but of a passed revolution. Our cybernetic era has a pink FLUO tone that hits our collective unconsciouss in a revolution of FUN, to tend to make us see life in pink and not in bloody red of the revolutions of the past century.
It is nevertheless a revolution, instrumentalized, and the 'double-lay' in transparent wax is not without evoking the translucency of our luminous screens, tactile, interactive as well as the juxtaposition of photoshop layers that appear to the design object and the techniques of virtual image production.
Thus, the concept of the 'Doube-Lay' proposes a completely innovative approach in the contemporary art market to the point of being called "avant-garde of contemporary art" by an Antwerp art critic during a first public presentation in June 2014, in an art gallery in Brussels.
From an ideological point of view, the 'Double-Lay' is a reflection on our modern means of displaying the ambiguity of the advertising message: questioning the relationship thus offered to the public between the information and what it sells, touching directly on the problem of packaging: the relation between the contents and the container, and, by extrapolation, between the order of nature, wild, and the place of all productions falling under the yoke of the societal organization of the different cultures and that of the global organization aiming to elevate a regulation of the first order to the rank of communities of signifiers with a more universal referential scope, educated.
From a historical point of view in terms of artistic practice, the question of the support-surface relationship exploded in the 1960s punctuating the formal rise of conceptual art, is reintroduced by the 'Double-lay', leading to reposition oil painting on canvas, in the digital era and the production of images by any instrumentalized medium.
Totally original innovation in the world of contemporary art by proposing a new perspective of creation of images where the pictural art produces according to a method non-instrumentalized, un-stated and yet to the appearance as such. A method still artisanal, sensualizing our perceptions and which finds its place despite the different production techniques that tend to facilitate the creation of virtual art images as vectorized.
However, a work remains the product of the visual analytical brain, synthetically intellectual and observer of man and the skillful dexterity of his hand, certainly imperfect in front of the algorithmic parameters of the computers, but lacking in this human quality irreplaceable by the machine that is it's great sensitivity, this remains humanizing, an emotional dimension in the final rendering, which the machine will not be able to replace.
The 'double-lay' thus shocks and disturbs and it is precisely this discomfort in front of a rendered which, raised, what is disturbing? Everything seems perfect and yet, there is something wrong: the aspect too perfect, where reality is packed to give it the aseptic vectorial aesthetics, dehumanized, to the frozen emotions like the images produced by the current technological instruments.
With the white background and the polar subject, the Ice-cube aspect of our cybernetic Ice-age evokes what Jean Baudrillard called 'the frigidary thought of software'.
The perfection of the images produced by computer offers a clear and precise rendering that goes without decorum or makes it uncertain, not natural, where beings seem detached from their environment, such that the chosified representation of the painted subjects renders them as floating in the improbable space of a deliberately un-worked background, as if waiting for a decoration to come by affixing an additional layer, intersideral space of a universe to explore.
It is an incisive oil painting on canvas with an accurate representation power as if worked with a scalpel, a surgical painting that follows the dehumanization of the cybernetic work when the society of the image tends to make disappear art in the initial sense of craftsmanship: skill of the perfect mechanics that constitutes the brain, control of the mechanics of the body, the brilliant perceptual acuity of the eye to parameterize three-dimensional space-time on a two-dimensional surface of this incredible little-explored machine that is the human being.
This transition from two-dimensional to three-dimensional has already fascinated many artists. Thus, the 'Double-Lay' is also a way of extracting the biplane, before entering into the three-dimensional creation of luminous sculptures, another part of the artist’s production.
The society of overconsumption is also that of information overload: the superposition of information proposed by the 'Double-Lay' opening to new meanings. The message is clearly committed. Environmental protection('My Cute Future Lil Purse, 70x90cm, Double-Lay by So) , the fight against cancer ('Touche pas à mon pote', 80x100cm, Double-Lay by So), the fight against ocean pollution('No Polluted Oceans', 55x68cm, Double-Lay by So), monetary systems ('Bitchness is a Mindset', 65x81cm, Double-Lay by So)...
The scope of meaning, like a print in our minds, renders, beyond a simple image, a knowledge, a knowledge that marks its borrowing in our collective unconsciouss like a fossil allowing the adjustment of the real on all that can be said of it, tending to deny/confirm its existence, its veracity.
Here, for example, is how the "S-Cargot" becomes this animal-totem, wise when it shows us how to slow down the hectic pace in the era of the ultra-rapidity and mobility of workers since they must, like this little animal, almost carry their home on their back. In this monumental painting, it is, on the contrary, giant like these apartment buildings, true hives of habitation in the megalopolis of the globalizing era.
Space compression, vector information compression, time-saving overlay opening new information, mathematical of this compression of information which empties the human being of its thinking substance and instrumentalizes it by cutting it off from its primordial source, that of emotions and natural that is the environment; appropriation of nature by this instrumental reign aiming at its 'optimized' management to the dehumanizing effect. Yes, since the modern fantasy is to create an artificial intelligence in the image of the human being but in order to control the human, perfect it and end up distorting it to the point of exterminating it... and then by extension of ambition, a whole biotope, a galaxy?
'L'S-cargot', 2mx2m, Double-Lay by So.
Target on a modern reality, the sign of local traffic, the meaning-forbidden (Read: 'The Pinguoins of the Universal of Ivan Segré) urges us to slow down in the face of the standardizing dictators of a new world order because it is in the process of tipping into a militarization: reign of "ism' on a planetary scale and danger of this type of hiccup as history has shown.
'Sens interdits', 70x100cm, Double-Lay by So.
Retreat because the Cold War is so cold that grenades are frozen (as in 'Cold-War', irony of the bluffed history...);
'Cold War', 80x100cm, Double-Lay by So.
And this cigarette, like an advertising canon proposing its own war, breaking the message contrary to its hegemony by the slogan 'No Way' which passes in the background in a silkscreened style, A campaign against smoking is widespread and despite its destructive effects as demonstrated by global health agencies.
'No Way', 2mx1m20, Double-Lay by So.
For convenience, the artist decided that the constitutive sign of the 'double-Lay' is aposé directly on the initial canvas of the largest formats, thus bringing together the conflict of the support-surface relationship opened in the 1960s and reintroduced in the 'Double-Lay'Lay' as a critic of conceptual art that led to multiple deviations in artistic creation until 'The End of Art' announced by Danto.
Thus, only the smallest formats cover the plastic constituting the 'Double-Lay' concept, leaving the conflict open (or All Green...).
'Le conflit est Tout Vert', 80x100cm, Double-Lay By So.
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Each work is original and signed, authenticated unique and produced by the artist SOPHIE DESTREE, signed So.
She obtained her first cotation after an exhibition @ Pierre Bergé while defending 'Art is Unscannable and the Ready-Life’s reversal' with a giant bar code entitled 'Art is Society’s Reflect'. Louiza Auktion Sale, February 2013 (see artnet/artprice.com).
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'The Double-Lays' is a concept invented by Belgian artist Sophie Destrée inspired by a visit to an exhibition on Japanese design in 2012.
_______________________________________________________________________________________________
Between symbolic order, the privilege of cultures and 'local reach' therefore, that represents the object chosified on a background often left white -not without suprematist connotation and faithful to a classical figurative painting (oil on canvas)-, and order of the sign which tends to abstain the meaning of the given object to raise it to the more universal level in the straight line of the phenomenon of globalization represented by the 'double-lay' whose additive support in transparent wax canvas uses a slogan, a sign drawn from the code of the road, from the contemporary design, from the graphics introducing an additional meaning to the meaning of the initial representation.
On the 2nd support thus affixed, the world of the sign represented with phosphorescent acrylic and essentially pink... PINK IS NOT DEAD!
Red being known as a revolutionary color but of a passed revolution. Our cybernetic era has a pink FLUO tone that hits our collective unconsciouss in a revolution of FUN, to tend to make us see life in pink and not in bloody red of the revolutions of the past century.
It is nevertheless a revolution, instrumentalized, and the 'double-lay' in transparent wax is not without evoking the translucency of our luminous screens, tactile, interactive as well as the juxtaposition of photoshop layers that appear to the design object and the techniques of virtual image production.
Thus, the concept of the 'Doube-Lay' proposes a completely innovative approach in the contemporary art market to the point of being called "avant-garde of contemporary art" by an Antwerp art critic during a first public presentation in June 2014, in an art gallery in Brussels.
From an ideological point of view, the 'Double-Lay' is a reflection on our modern means of displaying the ambiguity of the advertising message: questioning the relationship thus offered to the public between the information and what it sells, touching directly on the problem of packaging: the relation between the contents and the container, and, by extrapolation, between the order of nature, wild, and the place of all productions falling under the yoke of the societal organization of the different cultures and that of the global organization aiming to elevate a regulation of the first order to the rank of communities of signifiers with a more universal referential scope, educated.
From a historical point of view in terms of artistic practice, the question of the support-surface relationship exploded in the 1960s punctuating the formal rise of conceptual art, is reintroduced by the 'Double-lay', leading to reposition oil painting on canvas, in the digital era and the production of images by any instrumentalized medium.
Totally original innovation in the world of contemporary art by proposing a new perspective of creation of images where the pictural art produces according to a method non-instrumentalized, un-stated and yet to the appearance as such. A method still artisanal, sensualizing our perceptions and which finds its place despite the different production techniques that tend to facilitate the creation of virtual art images as vectorized.
However, a work remains the product of the visual analytical brain, synthetically intellectual and observer of man and the skillful dexterity of his hand, certainly imperfect in front of the algorithmic parameters of the computers, but lacking in this human quality irreplaceable by the machine that is it's great sensitivity, this remains humanizing, an emotional dimension in the final rendering, which the machine will not be able to replace.
The 'double-lay' thus shocks and disturbs and it is precisely this discomfort in front of a rendered which, raised, what is disturbing? Everything seems perfect and yet, there is something wrong: the aspect too perfect, where reality is packed to give it the aseptic vectorial aesthetics, dehumanized, to the frozen emotions like the images produced by the current technological instruments.
With the white background and the polar subject, the Ice-cube aspect of our cybernetic Ice-age evokes what Jean Baudrillard called 'the frigidary thought of software'.
The perfection of the images produced by computer offers a clear and precise rendering that goes without decorum or makes it uncertain, not natural, where beings seem detached from their environment, such that the chosified representation of the painted subjects renders them as floating in the improbable space of a deliberately un-worked background, as if waiting for a decoration to come by affixing an additional layer, intersideral space of a universe to explore.
It is an incisive oil painting on canvas with an accurate representation power as if worked with a scalpel, a surgical painting that follows the dehumanization of the cybernetic work when the society of the image tends to make disappear art in the initial sense of craftsmanship: skill of the perfect mechanics that constitutes the brain, control of the mechanics of the body, the brilliant perceptual acuity of the eye to parameterize three-dimensional space-time on a two-dimensional surface of this incredible little-explored machine that is the human being.
This transition from two-dimensional to three-dimensional has already fascinated many artists. Thus, the 'Double-Lay' is also a way of extracting the biplane, before entering into the three-dimensional creation of luminous sculptures, another part of the artist’s production.
The society of overconsumption is also that of information overload: the superposition of information proposed by the 'Double-Lay' opening to new meanings. The message is clearly committed. Environmental protection, the fight against cancer ('Touche pas à mon pote', 80x100cm, Double-Lay by So), the fight against ocean pollution, gender equality,...
The scope of meaning, like a print in our minds, renders, beyond a simple image, a knowledge, a knowledge that marks its borrowing in our collective unconsciouss like a fossil allowing the adjustment of the real on all that can be said of it, tending to deny/confirm its existence, its veracity.
Here, for example, is how the "S-Cargot" becomes this animal-totem, wise when it shows us how to slow down the hectic pace in the era of the ultra-rapidity and mobility of workers since they must, like this little animal, almost carry their home on their back. In this monumental painting, it is, on the contrary, giant like these apartment buildings, true hives of habitation in the megalopolis of the globalizing era.
Space compression, vector information compression, time-saving overlay opening new information, mathematical of this compression of information which empties the human being of its thinking substance and instrumentalizes it by cutting it off from its primordial source, that of emotions and natural that is the environment; appropriation of nature by this instrumental reign aiming at its 'optimized' management to the dehumanizing effect. Yes, since the modern fantasy is to create an artificial intelligence in the image of the human being but in order to control the human, perfect it and end up distorting it to the point of exterminating it... and then by extension of ambition, a whole biotope, a galaxy?
'L'S-cargot', 2mx2m, Double-Lay by So.
Target on a modern reality, the sign of local traffic, the meaning-forbidden (Read: 'The Pinguoins of the Universal of Ivan Segré) urges us to slow down in the face of the standardizing dictators of a new world order because it is in the process of tipping into a militarization: reign of "ism' on a planetary scale and danger of this type of hiccup as history has shown.
'Sens interdits', 70x100cm, Double-Lay by So.
Retreat because the Cold War is so cold that grenades are frozen (as in 'Cold-War', irony of the bluffed history...);
'Cold War', 80x100cm, Double-Lay by So.
And this cigarette, like an advertising canon proposing its own war, breaking the message contrary to its hegemony by the slogan 'No Way' which passes in the background in a silkscreened style, A campaign against smoking is widespread and despite its destructive effects as demonstrated by global health agencies.
'No Way', 2mx1m20, Double-Lay by So.
For convenience, the artist decided that the constitutive sign of the 'double-Lay' is aposé directly on the initial canvas of the largest formats, thus bringing together the conflict of the support-surface relationship opened in the 1960s and reintroduced in the 'Double-Lay'Lay' as a critic of conceptual art that led to multiple deviations in artistic creation until 'The End of Art' announced by Danto.
Thus, only the smallest formats cover the plastic constituting the 'Double-Lay' concept, leaving the conflict open (or All Green...).
'Le conflit est Tout Vert', 80x100cm, Double-Lay By So.
______________________
Each work is original and signed, authenticated unique and produced by the artist SOPHIE DESTREE, signed So.
She obtained her first cotation after an exhibition @ Pierre Bergé while defending 'Art is Unscannable and the Ready-Life’s reversal' with a giant bar code entitled 'Art is Society’s Reflect'. Louiza Auktion Sale, February 2013 (see artnet/artprice.com).
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