We offer free international shipping from artist's studio to your address (business or residential). Shipping time varies. However, usually, the whole process (preparation of customs documents, art packaging, shipping, and customs clearance in the country of arrival) takes about 2-3 weeks. Artist will securely pack the artwork, complete and sign Certificate of Authenticity and personally send the piece to you.
Art Acacia offers its clients 14 days ‘no questions asked’ return policy. We are all humans and we understand that you can change your mind or simply dislike the artwork when you see it. Within 14 days your payment remains intact, so that you can safely return the art piece and get your money back. If you would like to return the artwork, please contact us directly to arrange a pickup and learn how to pack the artwork.
At Art Acacia we offer safe payment methods: credit cards, Apple Pay, PayPal and cryptocurrencies. Please, contact us directly if you prefer to make a bank transfer and we will issue an invoice for you.
'Faits Marquants' Mixed-media by Antoine Puisais
Dimensions: 45 x 63 cm (17.7 x 24.8")
Medium: mixed-media on linen
Conditions: new artwork
Shipping: this abstract mixed-media artwork will be shipped to your address for free from artist's studio in France. It is ready to hang with a wall-mount tools at the back.
Certificate of Authenticity: you will receive the COA (certificate of authenticity) signed and dated by the artist to prove that the artwork is original.
In my work the notion of unfinished is essential. I act in a logic of construction, destruction and renovation. To seize the key moment between the end and the revival. For me, the act of painting is always a sweet war between what you show and what you hide, it's a reflection of an interiority and, in this binary act of adding and eliminating, I am interested in what resists.
Antoine Puisais is an abstract painter who works with mixed-media (collage painting) to reveal the structures behind the paint.
Before anything else, it's important to understand how my system operates. I use matrices to transfer on to canvas the results of my researches. Matrices are panels of plywood which act as stamps. So that what you see on these canvases is the result of a method of haphazard replication which leaves lots of room for the accidental.
Matrices are constantly reused, covered again and again by several layers of plaster, paint, and pigment. New paintings carry the scars of old ones. Old compositions help new compositions, everything is reinterpreted. But my work does not stop there. Once the painting is revealed, I take pictures of it and transform the images with processing software. A conversation then begins between the digital images and my studio work. Canvases are cut, turned and stuck together until I find harmony between my discoveries and my plans.
In 1911, Georg Simmel claimed that architecture consists of a balancing act between the upward striving of the human spirit and the destructive forces of natural decay, for him, ruins represent nature’s defiant reclamation of her own materials. The ruin is nature’s victory over the human enterprise, he wrote, formed when nature transforms the work of humankind ‘into material for her own expression’.
This is what happens in my paintings. Each new painting is a playground full of possibilities and pitfalls. Each time, I tear away the canvas from its support, I discover the painting. From there, I act like an archaeologist who digs up elements from the past and connects them in order to understand the present. The result of this process is an endless procession of “accidents” and errors. I have to adjust to what I discover. I have to deal with organic reality. My project is not meant to show paintings but to show how paintings are conceived and created. To show what’s happening behind the last coat of paint. How images slowly fade to reveal structures.