Mo Fontaine:
Picture "Suriname II" (2022)
Proportional view
Picture "Suriname II" (2022)
Mo Fontaine:
Picture "Suriname II" (2022)

Quick info

Acrylic, Collage, Other materials | Canvas, stretched on stretcher frame | Format 70 x 60 cm (H/W) | signed certificate of authenticity

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Delivery time: approx. 2 weeks

Picture "Suriname II" (2022)
Mo Fontaine: Picture "Suriname II" (2022)

Detailed description

Picture "Suriname II" (2022)

This toucan from the "Suriname" series could have sprung from the cabinet of curiosities of a baroque princely residence. The illustrations and taxidermy of such early collections have a magical and mysterious effect on today's viewers. The first explorers and naturalists tried hard to "capture" these exotic creatures on the other side of the world and to document them scientifically. For the artist, it is precisely this stylization, which is far removed from reality by today's standards, that holds great appeal: for these early historical depictions of animals also convey the naturalists' immense fascination with "their" exotics. The photorealism of our days, on the other hand, tends to contribute to a disenchantment of a world that is no longer so distant - a world without geographical boundaries and perhaps even a world without miracles. In this motif, she has tried to approach the magic of these early illustrations by means of assemblage. In doing so, she also uses stylistic principles of icon art.

About Mo Fontaine

The Folkwang graduate is a representative of a New Classic Style.
For her, everything revolves around color and its manifold modes of expression: from subtle to expressive. In her still lifes, portraits and collages she combines elements from all worlds and times, because she loves the art of the old masters as much as the Japanese art of the 17th century. This is how 'decelerated', magical-sensual images are created, which also transport the discredited concept of beauty. Seen in this light, some of the paintings seem to have 'fallen out of time' - not least because the paintings quite consciously refuse a fundamental category of the avant-gardes: the 'art of artlessness'. The aim is a timeless art that will perhaps still function in two or three hundred years.
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