L’équipée meurtrière by Miroslav Weissmuller
Edition: Original print, 10 copies.
Authentication: Numbered certificate signed by the artist, invoice.
Medium: Traditional drawing + Photoshop.
Technique: Museum quality fine art print.
Colour: UltraChrome K3 pigment inks.
Media: Hahnemühle, Photo Rag 308g paper.
€ 342.89 – € 731.97 inc. VAT
Method of payment: Secure card payment via our partner Stripe, Paypal, bank transfer, Alma.
Lead time prior to shipping: 7 days for a print, 15 days for a framed print.
Delivery: To your home address or a collection point. Almost anywhere worldwide.
Delivery fee: Free, small charge for certain destinations.
Durability: Colour stability, indoor UV resistance thanks to mineral pigment inks encapsulated in resin projected on a 100% Alpha cellulose backing.
Lifespan: 75 years without deterioration with normal indoor exposure. Results of tests carried out in independent laboratories.
Maintenance: Stable ambient surroundings recommended for the work. Avoid variations in temperature and humidity. Avoid direct sunlight.
Recommended humidity level: 35 to 65%.
Recommended temperature: 10 to 30°C.
Standards and certification: Acid and lignin-free. Standard ISO 9706 long life.
About the artist
Miroslav Weissmüller was born in 1990 in Saint-Germain-en-Laye. He lives and works in Nantes, where he trained as a graphic designer. His work, mainly in Indian ink, has featured in several publications.
More about Miroslav Weissmuller
How did you choose your means of expression?
I spent so much time reading comics when I was young that drawing came naturally to me.
Is this medium secondary to or closely linked to your subject?
What equipment do you use and why?
I use a brush pen with a reservoir of Indian ink because the tip does not wear out and there is less risk of getting dirty than with a pot of ink. (I like ink for its fixity, which keeps me from being tempted to change it).
How does a work session take shape?
I first draw a pencil sketch, freely and rapidly, then I mark out the areas to be blackened with a felt-tip pen, before proceeding with the actual inking, very slowly.
Can you explain to me how your work has evolved since starting?
Yes: when I started, I drew traditionally, by outlining my shapes, whereas today, by dint of considering the white of the paper as a tone, I have given up outlines.
Do your origins and culture play a role in the works that you produce?
Yes, insofar as my taste for the plastic arts comes from my father, a painter in his spare time. And then my graphic style comes from the Franco-Belgian tradition.
Which events have influenced you most?
What are your sources of inspiration?
Drawings by others, which I look at on the internet.
Are there any anecdotes that enable the genesis of your work to be understood?
Are current events considered in your production or on the contrary do you distance yourself from them?
Current events have little influence on the nature of my work, but I am sometimes distracted from my work during election periods when my attention is drawn to the debates on contemporary controversial topics.
ON A MORE
Are your works more of a dialogue, a trace or a denunciation?
They are both a dialogue with my colleagues and a record of the days spent producing them, but certainly not a denunciation.
Do you wish to make viewers wonder or do you prefer to question them?
I would rather please them. (I would also like to make them want to buy something).
How do you view human beings, and consequently your work?
I look at humans, in the broadest sense of the word, with indulgence. As for the female half of the population, I admit that I sometimes look at them in a way that is akin to what is nowadays called the “male gaze”.
How would you compare your last work with the next?
I would say that the next one is more erotic than the previous one, and more domestic too.
Is art poetry or social intervention?
Probably poetry, although the definition of this term has always seemed rather vague to me.