I'm old and I'm still into that

Jessy Razafimandimby

I'm old and I'm still into that, 202465 x 77cmSign in to view price
Details
MaterialGallery
acrylic on cotton sheetSans titre
Description
Human-crafted. AI-refined.

This abstract painting features a bold, vibrant color palette dominated by shades of yellow and green. The composition consists of organic, amorphous shapes that seem to flow and melt into one another, creating a dreamlike, surreal atmosphere. While the subject matter is not immediately recognizable, the artwork evokes a sense of natural forms and elements, perhaps alluding to landscapes or organic structures. The artist's distinctive brushwork and the textured, impasto-like application of paint contribute to the overall emotive and expressive quality of the piece. This artwork likely reflects the artist's personal interpretation of the natural world, offering a unique, imaginative perspective on the visual and conceptual exploration of form and color. ...

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Warmest answer
Artist
Jessy Razafimandimby
B.1995, Malagasy

His multidisciplinary production encompasses painting, drawing, installations, and performance. Often, these practices converge, finding the artist manipulating fragmented decorative objects and textiles, which extend the work beyond its frame. These extensions reveal a clash between sculpture and painting, staged by Razafimandimby.The artist brings a world inherited from the past back to life, making reference to French cinema of the 1960s, jazz music, design, and postwar architecture. He pays particular attention to the history of interior decoration and ornamentation, as well as social conventions and the “good manners” traditionally linked to a conservative way of life and promoted by a classist bourgeois system.Jessy Razafimandimby’s obsessions take place principally within the home, and the practice of the artist is accordingly criss-crossed with references to domesticity and collective memory. Coexisting in his paintings are human figures and animals - but also chimerical figures that express Razafimandimby’s utopic and dystopic projections. These seem at times to merge, to mutate into new and complex forms that reveal the artist’s interest in the question of becoming. It is not as much what we become, as with whom we become it - the collective experience - that Razafimandimby interrogates.The figures detailed by the artist are extracted from a pictorial space in which they could be contained, and projected into a present, sensorial space, that of the exhibition. In such a way, he conceives joyously disordered, agitated environments, inspired by fictional domestic environments inhabited by strange masses of objects and drapery, ghostly in affect.These territories are inhabited by Razafimandimby’s fictional hosts, becoming a vestigial space in which the artist engages physically, employing the household as a metaphorical framework to question notions of taste, belonging, and power. He interrogates the ability of humans to construct relations with their environment, at times merging with it. These relations are imbued with attention, tenderness, and confusion. ...

Jessy Razafimandimby: Artworks
just a sip of consolation
Jessy Razafimandimby
just a sip of consolation, 2024
100 x 73.5cm
I'm old and I'm still into that
Jessy Razafimandimby
I'm old and I'm still into that, 2024
65 x 77cm
Modulation
Jessy Razafimandimby
Modulation, 2024
147 x 63 x 3.6cm
I am a thorn without its rose
Jessy Razafimandimby
I am a thorn without its rose, 2024
50 x 53 x 16cm
The invincible defeat
Jessy Razafimandimby
The invincible defeat, 2024
30 x 25 x 5.5cm
still prayers in the air
Jessy Razafimandimby
still prayers in the air, 2024
90 x 44cm
whisper sweet
Jessy Razafimandimby
whisper sweet, 2024
90 x 18cm
Yesterdays
Break in of little worlds
Jessy Razafimandimby
Break in of little worlds, 2024
52 x 36cm
I'd rather drink my tears
Jessy Razafimandimby
I'd rather drink my tears, 2024
47 x 56cm
You know I had to cheat
Jessy Razafimandimby
You know I had to cheat, 2024
90 x 70cm
Meadow Meeting
Jessy Razafimandimby
Meadow Meeting, 2024
90 x 18cm
The first lake
Jessy Razafimandimby
The first lake, 2024
60 x 50cm
Warmest answer
Jessy Razafimandimby
Warmest answer, 2025
56 x 32cm
The rules are overwhelmed
Jessy Razafimandimby
The rules are overwhelmed, 2025
46 x 41cm
Biscuits and words
Jessy Razafimandimby
Biscuits and words, 2025
32 x 54.5cm
In your mirror
Jessy Razafimandimby
In your mirror, 2025
18 x 23cm
Shelter
Through a narrow perimeter of life
Jessy Razafimandimby
Through a narrow perimeter of life, 2024
50 x 55 x 42cm
s’adosser à ce qui importe
Jessy Razafimandimby
s’adosser à ce qui importe, 2022
31.5 x 25cm
tout coule de partout, ça ne pouvait pas attendre
Jessy Razafimandimby
tout coule de partout, ça ne pouvait pas attendre, 2022
39 x 28.5cm
le quart d’une célébrité
Jessy Razafimandimby
le quart d’une célébrité, 2022
36.5 x 25.5cm
une célébrité familiale
Jessy Razafimandimby
une célébrité familiale, 2022
18 x 23.5cm
dans un complexe d’autres fois
Jessy Razafimandimby
dans un complexe d’autres fois, 2022
21 x 15cm
Can't throw down what I want
Jessy Razafimandimby
Can't throw down what I want, 2024
100 x 20cm
Sans titre
Gallery
Sans titre
Paris

Sans titre is a gallery based in Paris. It initially operated as a project space and after three years of a nomadic existence (2016 – 2019) and numerous atypical spaces occupied (private apartments, industrial spaces, parking lots, a shipyard, a few hotel rooms, restaurants, etc.), Sans titre moved into a permanent address and embraced the gallery model. It is now located 13, rue Michel Le Comte, a few steps from the Centre Pompidou, in a former Restoration-era bar, whose facade is registered as a Historic Monument. Throughout, Sans titre works to promote international artists in the early stages of their careers. Alongside organizing exhibitions in a multidisciplinary approach, the gallery publishes fanzines, produces edition and creates events related to the represented artists. ...

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