Solange Kowalewski<\/h4>\n<\/div><\/div> <\/a>\nExhibition La Roche sur Foron – 2013<\/h4>\n<\/div><\/div> <\/a>\nExhibition Chartreuse d’Aillon – 2012<\/h4>\n<\/div><\/div> <\/a>\nExhibition Mus\u00e9e Faure, Aix-les-Bains – 2011<\/h4>\n<\/div><\/div>\n<\/div>\n
Froms, although the viewer is sometimes tempted to see them as abstarct figures, retains always a weel defined “personality” within a framework which is recognized as concrete. They are “in disguise”.<\/p>\n
From 1987, the attraction for both print and painting led to the monotype then to a liaison\/synthesis of both ways of expression, ranging from the traditional intaglio to the association of intaglio\/monotype\/paint. This overture has allowed in 2001 the introduction of digital images in addition to the experimental work.<\/p>\n
On the other hand, experiments are being conducted on the support which intervenes significantly in the projection of images. This support, which has mostly been a traditional printing paper, can aslo become recycled paper, cloth or any material likely to retain a trace.<\/p>\n
Since 1987, there is no printing of numbered identical copies anymore except on private request. Printmaking is considered as a plastic possibility with its own characteristics, particularly that which is represented by the intermediary of a matrix. It allows for work on a combination of images used for their suggestive capacity.<\/p>\n
The duplicated image became very present as required by an expression manifested through multiple forms and coded signs specific to a logic that extends to every experimented plastic domains.<\/p>\n
The work is oriented toward the reproduction of current or previous works, posing anew the question of the uniqueness of the work of art. Therefore creation does not always manifest itself in invented forms and landscapes. Where they exist, there is no need to create more. It is their transformation which becomes important.<\/p>\n
For this computerized tools became necessary. They allow to constantly question the memory of what existed. Drawing, use for many years as a mean of research, has regain the foremost role which was his : that of all creation regarder more in relation to a space on which it can intervene.<\/p>\n
The engraving studio<\/h2>\nSolange Kowalewski works with the engraving studio of Saint-Prex, near Lausanne. She mainly comes for the etching of her work.<\/h4>\n![\"The](\"https:\/\/www.solangekowalewski.com\/wp-content\/uploads\/2014\/02\/atelier-saint-prex.jpg\")
<\/a>The engraving studio of Saint-Prex, Lausanne<\/p><\/div>\n
The studio was founded by Edmond Quinche, Pietro Sarto and Fran\u00e7oise Simecek in 1968 on the banks of the Lake L\u00e9man in Saint-Prex. It has intaglio and lithography presses.<\/p>\n
The studio is still managed by Pietro Sarto, who is a painter and an engraver. Fran\u00e7oise Simececk, who works in Paris as a writer, regularly comes to Saint-Prex. Edmond Quinche is also an engraver.<\/p>\n
Text of Albert Flocon about the engraving studio : read here<\/a><\/h5>\nAlbert Flocon, officialy named Albert Mentzel, born in K\u00f6penick (Berlin) on May the 24th<\/sup> 1909 and died in Paris on October the 12th<\/sup> 1994 (85 years old), is a French engraver with German origins. He was also a theoretician, teacher and historian. <\/em><\/p>\n
Exhibition La Roche sur Foron – 2013<\/h4>\n<\/div><\/div> <\/a>\nExhibition Chartreuse d’Aillon – 2012<\/h4>\n<\/div><\/div> <\/a>\nExhibition Mus\u00e9e Faure, Aix-les-Bains – 2011<\/h4>\n<\/div><\/div>\n<\/div>\n
Froms, although the viewer is sometimes tempted to see them as abstarct figures, retains always a weel defined “personality” within a framework which is recognized as concrete. They are “in disguise”.<\/p>\n
From 1987, the attraction for both print and painting led to the monotype then to a liaison\/synthesis of both ways of expression, ranging from the traditional intaglio to the association of intaglio\/monotype\/paint. This overture has allowed in 2001 the introduction of digital images in addition to the experimental work.<\/p>\n
On the other hand, experiments are being conducted on the support which intervenes significantly in the projection of images. This support, which has mostly been a traditional printing paper, can aslo become recycled paper, cloth or any material likely to retain a trace.<\/p>\n
Since 1987, there is no printing of numbered identical copies anymore except on private request. Printmaking is considered as a plastic possibility with its own characteristics, particularly that which is represented by the intermediary of a matrix. It allows for work on a combination of images used for their suggestive capacity.<\/p>\n
The duplicated image became very present as required by an expression manifested through multiple forms and coded signs specific to a logic that extends to every experimented plastic domains.<\/p>\n
The work is oriented toward the reproduction of current or previous works, posing anew the question of the uniqueness of the work of art. Therefore creation does not always manifest itself in invented forms and landscapes. Where they exist, there is no need to create more. It is their transformation which becomes important.<\/p>\n
For this computerized tools became necessary. They allow to constantly question the memory of what existed. Drawing, use for many years as a mean of research, has regain the foremost role which was his : that of all creation regarder more in relation to a space on which it can intervene.<\/p>\n
The engraving studio<\/h2>\nSolange Kowalewski works with the engraving studio of Saint-Prex, near Lausanne. She mainly comes for the etching of her work.<\/h4>\n<\/a>The engraving studio of Saint-Prex, Lausanne<\/p><\/div>\n
The studio was founded by Edmond Quinche, Pietro Sarto and Fran\u00e7oise Simecek in 1968 on the banks of the Lake L\u00e9man in Saint-Prex. It has intaglio and lithography presses.<\/p>\n
The studio is still managed by Pietro Sarto, who is a painter and an engraver. Fran\u00e7oise Simececk, who works in Paris as a writer, regularly comes to Saint-Prex. Edmond Quinche is also an engraver.<\/p>\n
Text of Albert Flocon about the engraving studio : read here<\/a><\/h5>\nAlbert Flocon, officialy named Albert Mentzel, born in K\u00f6penick (Berlin) on May the 24th<\/sup> 1909 and died in Paris on October the 12th<\/sup> 1994 (85 years old), is a French engraver with German origins. He was also a theoretician, teacher and historian. <\/em><\/p>\n
Exhibition Chartreuse d’Aillon – 2012<\/h4>\n<\/div><\/div> <\/a>\nExhibition Mus\u00e9e Faure, Aix-les-Bains – 2011<\/h4>\n<\/div><\/div>\n<\/div>\n
Froms, although the viewer is sometimes tempted to see them as abstarct figures, retains always a weel defined “personality” within a framework which is recognized as concrete. They are “in disguise”.<\/p>\n
From 1987, the attraction for both print and painting led to the monotype then to a liaison\/synthesis of both ways of expression, ranging from the traditional intaglio to the association of intaglio\/monotype\/paint. This overture has allowed in 2001 the introduction of digital images in addition to the experimental work.<\/p>\n
On the other hand, experiments are being conducted on the support which intervenes significantly in the projection of images. This support, which has mostly been a traditional printing paper, can aslo become recycled paper, cloth or any material likely to retain a trace.<\/p>\n
Since 1987, there is no printing of numbered identical copies anymore except on private request. Printmaking is considered as a plastic possibility with its own characteristics, particularly that which is represented by the intermediary of a matrix. It allows for work on a combination of images used for their suggestive capacity.<\/p>\n
The duplicated image became very present as required by an expression manifested through multiple forms and coded signs specific to a logic that extends to every experimented plastic domains.<\/p>\n
The work is oriented toward the reproduction of current or previous works, posing anew the question of the uniqueness of the work of art. Therefore creation does not always manifest itself in invented forms and landscapes. Where they exist, there is no need to create more. It is their transformation which becomes important.<\/p>\n
For this computerized tools became necessary. They allow to constantly question the memory of what existed. Drawing, use for many years as a mean of research, has regain the foremost role which was his : that of all creation regarder more in relation to a space on which it can intervene.<\/p>\n
The engraving studio<\/h2>\nSolange Kowalewski works with the engraving studio of Saint-Prex, near Lausanne. She mainly comes for the etching of her work.<\/h4>\n<\/a>The engraving studio of Saint-Prex, Lausanne<\/p><\/div>\n
The studio was founded by Edmond Quinche, Pietro Sarto and Fran\u00e7oise Simecek in 1968 on the banks of the Lake L\u00e9man in Saint-Prex. It has intaglio and lithography presses.<\/p>\n
The studio is still managed by Pietro Sarto, who is a painter and an engraver. Fran\u00e7oise Simececk, who works in Paris as a writer, regularly comes to Saint-Prex. Edmond Quinche is also an engraver.<\/p>\n
Text of Albert Flocon about the engraving studio : read here<\/a><\/h5>\nAlbert Flocon, officialy named Albert Mentzel, born in K\u00f6penick (Berlin) on May the 24th<\/sup> 1909 and died in Paris on October the 12th<\/sup> 1994 (85 years old), is a French engraver with German origins. He was also a theoretician, teacher and historian. <\/em><\/p>\n
Exhibition Mus\u00e9e Faure, Aix-les-Bains – 2011<\/h4>\n<\/div><\/div>\n<\/div>\n
Froms, although the viewer is sometimes tempted to see them as abstarct figures, retains always a weel defined “personality” within a framework which is recognized as concrete. They are “in disguise”.<\/p>\n
From 1987, the attraction for both print and painting led to the monotype then to a liaison\/synthesis of both ways of expression, ranging from the traditional intaglio to the association of intaglio\/monotype\/paint. This overture has allowed in 2001 the introduction of digital images in addition to the experimental work.<\/p>\n
On the other hand, experiments are being conducted on the support which intervenes significantly in the projection of images. This support, which has mostly been a traditional printing paper, can aslo become recycled paper, cloth or any material likely to retain a trace.<\/p>\n
Since 1987, there is no printing of numbered identical copies anymore except on private request. Printmaking is considered as a plastic possibility with its own characteristics, particularly that which is represented by the intermediary of a matrix. It allows for work on a combination of images used for their suggestive capacity.<\/p>\n
The duplicated image became very present as required by an expression manifested through multiple forms and coded signs specific to a logic that extends to every experimented plastic domains.<\/p>\n
The work is oriented toward the reproduction of current or previous works, posing anew the question of the uniqueness of the work of art. Therefore creation does not always manifest itself in invented forms and landscapes. Where they exist, there is no need to create more. It is their transformation which becomes important.<\/p>\n
For this computerized tools became necessary. They allow to constantly question the memory of what existed. Drawing, use for many years as a mean of research, has regain the foremost role which was his : that of all creation regarder more in relation to a space on which it can intervene.<\/p>\n
The engraving studio<\/h2>\nSolange Kowalewski works with the engraving studio of Saint-Prex, near Lausanne. She mainly comes for the etching of her work.<\/h4>\n<\/a>The engraving studio of Saint-Prex, Lausanne<\/p><\/div>\n
The studio was founded by Edmond Quinche, Pietro Sarto and Fran\u00e7oise Simecek in 1968 on the banks of the Lake L\u00e9man in Saint-Prex. It has intaglio and lithography presses.<\/p>\n
The studio is still managed by Pietro Sarto, who is a painter and an engraver. Fran\u00e7oise Simececk, who works in Paris as a writer, regularly comes to Saint-Prex. Edmond Quinche is also an engraver.<\/p>\n
Text of Albert Flocon about the engraving studio : read here<\/a><\/h5>\nAlbert Flocon, officialy named Albert Mentzel, born in K\u00f6penick (Berlin) on May the 24th<\/sup> 1909 and died in Paris on October the 12th<\/sup> 1994 (85 years old), is a French engraver with German origins. He was also a theoretician, teacher and historian. <\/em><\/p>\n
![\"The](\"https:\/\/www.solangekowalewski.com\/wp-content\/uploads\/2014\/02\/Exposition-Solange-Kowalewski.jpg\")
<\/a>The engraving studio of Saint-Prex, Lausanne<\/p><\/div>\n
The studio was founded by Edmond Quinche, Pietro Sarto and Fran\u00e7oise Simecek in 1968 on the banks of the Lake L\u00e9man in Saint-Prex. It has intaglio and lithography presses.<\/p>\n
The studio is still managed by Pietro Sarto, who is a painter and an engraver. Fran\u00e7oise Simececk, who works in Paris as a writer, regularly comes to Saint-Prex. Edmond Quinche is also an engraver.<\/p>\n