Christine SAFA Yellow face - 2022 Oil on canvas Signed and dated on the back 14 x 18 cm Oil on canvas ; signed and dated on the reverse 5,51 x 7,08 in. Provenance: Acquired directly from the artist by the current owner "I apprehend painting as a discernment of emotional states, dictated by light; its colour, weight, substance, lightness or heaviness. / "I apprehend painting as a discernment of emotional states, dictated by light; its color, weight, substance, lightness or heaviness." Christine Safa, interview with Elsa Meunier FR Christine Safa's use of colour - pure pigments ground and mixed with oil - links her work to the heritage of the 15th-century Italian Primitives and to the brilliance of the frescoes found in Pompeian villas painted in the 1st century BC. The uniqueness of the surface of her paintings, prepared with the marble powder traditionally used in the composition of painted plaster, recalls the soft, hard surface of these ancient frescoes. Perfectly aware of the transience of time, Christine Safa tends to endow with a memory what is doomed to erasure, to disappearance. The light of the rising sun, the softness of an embrace, the blossoming of a bouquet - nothing lasts. The artist deposits immaterial, fleeting moments on his support before it dries, before it sets completely, as one might say of a coating. Drying gives the surface the appearance of solid limestone. The paint becomes stone. The ephemeral becomes sealed, "imprisoned" in the surface. (extract from a text by Laure Forlay). EN Christine Safa's work with colour - using pure pigments ground and mixed with oil - links her practice to the heritage of the 15th-century Italian Primitives, as well as to the brilliance of the frescoes found in Pompeian villas painted in the 1st century BC. The uniqueness of the surface of her paintings, prepared with the marble powder traditionally used in the composition of painted plaster, recalls the soft, hard surface of these ancient frescoes. Perfectly aware of the transience of time, Christine Safa tends to endow with a memory what is doomed to erasure, to disappearance. The light of the rising sun, the softness of an embrace, the blossoming of a bouquet - nothing lasts. The artist deposits immaterial, fleeting moments on his support before it dries, before it sets completely, as one might say of a coating. Drying gives the surface the appearance of solid limestone. Paint becomes stone. The ephemeral is sealed, "imprisoned" in the surface. (excerpt from a text by Laure Forlay). Christine SAFA "I apprehend painting as a discernment of emotional states, dictated by light; its colour, weight, substance, lightness or heaviness. / "I apprehend painting as a discernment of emotional states, dictated by light; its color, weight, substance, lightness or heaviness." Christine Safa, interview with Elsa Meunier FR Christine Safa's use of colour - pure pigments ground and mixed with oil - links her work to the heritage of the 15th-century Italian Primitives and to the brilliance of the frescoes found in Pompeian villas painted in the 1st century BC. The uniqueness of the surface of her paintings, prepared with the marble powder traditionally used in the composition of painted plaster, recalls the soft, hard surface of these ancient frescoes. Perfectly aware of the transience of time, Christine Safa tends to endow with a memory what is doomed to erasure, to disappearance. The light of the rising sun, the softness of an embrace, the blossoming of a bouquet - nothing lasts. The artist deposits immaterial, fleeting moments on his support before it dries, before it sets completely, as one might say of a coating. Drying gives the surface the appearance of solid limestone. The paint becomes stone. The ephemeral becomes sealed, "imprisoned" in the surface. (extract from a text by Laure Forlay). AT Christine Safa's work with colour - using pure pigments ground and mixed with oil - links her practice to the heritage of the 15th-century Italian Primitives, as well as to the brilliance of the frescoes found in Pompeian villas painted in the 1st century BC. The uniqueness of the surface of her paintings, prepared with the marble powder traditionally used in the composition of painted plaster, recalls the soft, hard surface of these ancient frescoes. Perfectly aware of the transience of time, Christine Safa tends to endow with a memory what is doomed to erasure, to disappearance. The light of the rising sun, the softness of an embrace, the blossoming of a bouquet - nothing lasts. The artist deposits immaterial, fleeting moments on his support before it dries, before it sets completely, as one might say of a coating. Drying gives the surface the appearance of solid limestone. Paint becomes stone. The ephemeral is sealed, "imprisoned" in the surface. (excerpt from a text by Laure Forlay).