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After Durer #2, 2004

Acrylic, oil and collage on panel
80 × 72 in
203.2 × 182.9 cm
Bidding closed
About the work
D
Doyle

Unframed

Condition: Overall good condition.

Any condition statement is given as a courtesy to a …

Read more

Unframed

Condition: Overall good condition.

Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. We advise that you or someone on your behalf inspect the lot personally …

Read more
Nicole Charbonnet
American, b. 1966
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Nicole Charbonnet thinks of her collaged paintings as palimpsests of cultural memory. She appropriates pop and art historical imagery, beginning with iconic works—examples include Damien Hirst’s spot paintings or Howard Hawks or Alfred Hitchcock film stills. For Charbonnet, the specificity of the image is less important than its ability to evoke broad cultural trends. She adds materials such as paint, fabrics, and plaster to her work, which wear away or mask the original image. The process echoes the fog and distortions that often characterize the act of remembering. “Painting for me serves as a metaphor for the phenomenon of recollection,” she has said. “My process of painting mimics or simulates the process of remembering with all its layers and numerous textures.”

Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
D
Doyle

Unframed

Condition: Overall good condition.

Any condition statement is given as a courtesy to a …

Read more

Unframed

Condition: Overall good condition.

Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. We advise that you or someone on your behalf inspect the lot personally …

Read more
Nicole Charbonnet
American, b. 1966
Follow

Nicole Charbonnet thinks of her collaged paintings as palimpsests of cultural memory. She appropriates pop and art historical imagery, beginning with iconic works—examples include Damien Hirst’s spot paintings or Howard Hawks or Alfred Hitchcock film stills. For Charbonnet, the specificity of the image is less important than its ability to evoke broad cultural trends. She adds materials such as paint, fabrics, and plaster to her work, which wear away or mask the original image. The process echoes the fog and distortions that often characterize the act of remembering. “Painting for me serves as a metaphor for the phenomenon of recollection,” she has said. “My process of painting mimics or simulates the process of remembering with all its layers and numerous textures.”

After Durer #2, 2004

Acrylic, oil and collage on panel
80 × 72 in
203.2 × 182.9 cm
Bidding closed
Other works by Nicole Charbonnet