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All About frederiqueK
A Fine French Artist/Architect and Writer whose creative paintings reflect the beauty and emotions of women in oil on canvas, art prints, apparel, accessories, and more...

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Portrait of the artist as weigher beads

What matters is not the female model but it causes disorientation. With her portraits of women-Lorent Frederique Krzis is more interested in a displacement movement and purifies strictly speaking figuration.

The place of investigation of the painting is the woman but an approach where the female is taken as default paint to make it even more ethereal but prégnant.

The Northern artist can maintain her work on a tightrope in a dialectic between the naked and the veiled. She finds a way to disrupt any tangibility to create tension, a new attention. For her eye, her technique and her idea of the woman, the artist brings forth in diaphanous color and makes each of its œuvresune copy test light.

Each painting stirs a unique opening points.

In color shifts are not conscious or unconscious fantasies operating but a begetting of different types of transparency and framing. Sometimes Krzis-Lorent Frederique retains only the face, sometimes it does the opposite bodyguard bust. But still depending on the game and the unveiling of the veil. There is created a set made lascivious scene of abandonment and restraint. All grabbed through the suggested and the particular use of color and its volumes within a pictorial technique stronger. It is inherited as much as the great Flemish painters italiens. A seeking harmony Frédérique declines as a result of second and third order to embrace a view of femininity rather than keep up the mystery even when the face is bare. This treatment creates a distance to return the voyeur in perplexity. In her sketches the epidermis and that the covers (or reveals) is a body-image. The real painting can begin, because she has something interesting to say and show. Not on the ground but it. This is no longer the woman who shows her privacy is painting that becomes intimate. Hence the fascination it provokes. Frédérique Nothing is required in the real basis for the table if the unimaginable force of femininity questioned deeper. To borrow the title of a painting by Vermeer the artist becomes "the weighing of pearls". It offers a particular figurative bending. Emerges an offset plastic prompt to enter a continent that belongs only femmes. Sans any exhibition trivial arises deepest, most hidden. And in a most sacred way: "intima spelunca in intimo sacrario" already told the Florentines.

 The woman is in her privacy. For example, in a batting morning. It makes its nest chamber. A light flows without being consumed in the creases, folds. Reflections arise in the invisible beads of dew and a kind of innocence.We can not say if this innocence conceal a form of evil because the secret is safe. And therein lies the mystery and power of the painting of Frederick. The fullness remain the X, the unknown, but there is no reason to dream. Each of these women is (perhaps) a pearl. It weighs without weighing. But unlike the virgin she crowned her body weight, she is not humiliated. On the contrary. And this is where the lure itself Chantourne: the fascination of the woman succeeds another presence. That of peintureOn enjoys the presence of the paint as much as her. Everything goes through the interstices. As if to trap us. The woman is pensive, lost in his thoughts to better absorb us, to better absorb us. She waits. She awaits our gaze. Has its fascination. Each painting takes its light vibration. We can not wait to do it. Frédérique has only one goal: tired of thinking, make us into weightlessness for us to fall, succumb. Emerges as sexual in origin. The source which flaming world is almost open in a falling motion as free as restraint. Peaceful, light is light. It announces the time of interpretation, the end of the exile, the end of thought. Frédérique shows us the way to escape the mourners, the Madonnas of Piero della Francesca and others. She is the woman of our time if an odalisque at least a pagan deity.

In the dawn, in the boreal dawn dribble the open bite and drop that haunt us.

J.P Gavard-Perret
Doctor of Literature
teaches communication at the University of Savoie (Chambery).
Member of the Research Center Imagination and Creation
He is a specialist in the twentieth century and Image of the work of Samuel Beckett.

"The truth has a woman's face" (Kafka)

frederiqueK not trying sins and vices, feelings or brings beauty of the female body. For her all these records are missing the issue. The object is not to know how to use her body, but to know what anime and to show the states, in short, how in the incarnation, the body can think of.
The artist does not lock: it covers so that the gaps remain open. Life is in the folds. It adds nothing. But do not subtract either. The body is in pain. But is not necessarily painful. But we do not know.frederiqueK (Frédérique Kafka) plunges us into a state-of-consciousness and to two final questions: Where are our monsters? and are they really heartless?
The work suggests a well étreange silence of the groundless ground of being.

Leaving its interior corridors, organic is a strange, paradoxical image where the expansion plays an important role through the plastic. The artist proves that organic can not be reduced to its elements, but the force of the explosion.

Her work is the best possible representation of the teeming silence be. It can be designated more clearly or more caractéritique in this creation to its "symbolic" way since the passage offers a present reality to another reality.

This exceeds the first. But it is also the order of the allegory. It reveals something that did not exist Paravant and goes beyond the erotic fascination. Haunting in advance.

Kafka had guessed. Even absurd the world is a woman. Not any. One that soothes no thirst and whose first love is waiting for the end of days.

Your imagination equipment

You are paradoxically iconoclastic. Arises from your work break with some form of artificial representation that any class of "critical" will never understand the issue. In fact, your seemingly classic painting exceeds packaging related to art, perhaps related to your life. Relationships are established within the matière. Votre act is an attempt to enhance the femininity of the same painting. Each of your works is developed slowly from the observation that the more invisible visible. It amplifies what appears as pending.

Paint couples with an idea to delete the material. Until that are created to be the intimacy pigments, volumes, architectures. Your work from a rough idea but escapes any classification process. We can talk with you material imagination. The same material of the painting is the principle that can both lose interest forms and induce far from the dream and illusion. A form emerges. Each canvas is erected in the merger, the merger creates. And waiting.

I go looking for your face and your body. All lies. All arises. Something tangible becomes almost tactile. But remains hidden and secret. A voice called. Over a fence dialogue continues. Rest veil and the dermis. No need to make the wall. It's open. Every word is useless, your paintings to judge its "skin". As it remains to be what becomes deeper.

Light, coming from the dark. Body or face: the hidden evidence. It contains much darker than the nucleus contained world. A little color remains as an oversight on the body. But it becomes radiant living presence. That we are nothing, we will have at least your site. Remains to be seen what they say about us and they heal. But still, we must return to their fluidity, their wealth. Their flow and ebb.

Show you know the pain of removal and return of quiet joy. You are quêteuse of femininity against the night lovers, immolators, inconsistent. You ignore their masks. You prefer to put the woman remains to exist. Arises to recognize the emotion of your face hidden. Your gesture created to bring out the invisible you are experiencing.

Therefore your images say otherwise deny the vacuum and not give up wearing a body, a face? Do not stop this movement sprang since clarity. Their gateways are forgetting fear and immobility. They lead to the shores of femininity as the heady scent of lilac leads to inaccessible.

They renounce the idea of salvation. That is why they soothe. Everything is on hold and appears to be stable yet. We see only fragments but as vast worlds. Presence fluidity. Free incurable.

No shortage can exhaust. No joy heals. Love the image and the world. Each other endless tear. What do you know about the woman if it is not its depths, What is going on in your movements to create the rest of the order of communion with the mystery.

Walk of a Solitary Painter by frederiqueK

Art Agents International - Bill West

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