Tryptic - Overgrown
Exhibition Text :
My intention with this artwork was to show the self-destruction of mental health and the effects it has. I was inspired by Alexandra Levasseur, whose use of somber expressions and soft color palettes portrays a feeling of loneliness. To create my own piece, I used oil paints and experimented with how I could use colors, blending, and subject matter to portray the feeling I was looking for.
Inspiration :
When I began this piece, I didn't really have any ideas of what I wanted to create. I only came up with what I wanted to do after I found my artist inspiration, Alexandra Levasseur. I was immediately drawn to the way Levasseur paints her figures. I love how many of them feel very peaceful, but when combined with the environment they are placed in, they seem lonely and quiet, even when surrounded by others. For example, in "Arrêter le temps" (bottom left), the piece includes 6 different people. Looking at them though, I realized that each of them seemed to be in their own world, focusing on themselves and whatever they are doing. While none of them are directly interacting with each other, they all work together in the artwork as a whole. They are fill up their own portion of the canvas and interact with what is near them. For example, one of the figures looks to almost be holding up the sky, while others are laying and swimming in what seems to be a lake or pool. Another aspect that I enjoy from Levasseur's work is the depiction of both peacefulness and tragedy. This is shown in the piece "Carbone I" (bottom middle), where the figure seems to have a tree growing out of her back and a comet is coming towards her. While all this is happening, she isn't outwardly panicking or scared, and she looks more accepting and peaceful than anything. I also like how Levasseur combined the comet, which brings death and destruction, with the flowers and trees, which are signs of life. The way these two elements contrast against each other creates strong and opposing emotions, and are very appealing to see and think about. There is a similar feeling in "Perception II" (bottom right), where the person in the picture is all alone somewhere that looks like it might not even be on earth. There is a sense of emptiness, but also peacefulness. The figure is standing and looking up, and though we can't see her face, she doesn't seem stressed or fearing for anything. Lastly, I really like Levasseur's use of color and her painting technique. The colors she uses are very soft, and there is a lot of contrast between more muted red, greens, and browns against much lighter blues, pinks, and purples. The contrast between the earth tones and the lighter colors shows depth and dimension, and help the figures look as though they belong in their environment. The painting technique also helps with this, as you are able to see the individual paint strokes. This texture makes the painting as a whole more appealing to look at, as well as giving the impression of elements you would see in nature, even if they aren't completely rendered and realistic. Overall, I want to use Levasseur's paintings as inspiration for how the figures interact with the environment, her use of color, and the texture and painting techniques within her works.
Planning :
Using Levasseur's work as a sort of jumping off point, I started to come up with a couple ideas and sketches for my own paintings. Since this is going to be a tryptic, I have to make sure that all three paintings go together, but could also work together as one piece. I made a lot of initial sketches, but never really found something that I liked. I wanted there to be 3 figures, one in each painting, interacting with either each other or relating to each other in some way. Similar to "Arrêter le temps," I wanted there to be multiple people but in the same scene/environment. I came up with the idea of having the background line up when all three paintings are lined up, but still have some sort of differentiation. The idea behind this piece is the deterioration of mental health while everything around you seems to get better, so I felt like this is something I could incorporate into the three paintings and how they progress. I like the idea of making each of them at a different time of day, one at dusk with darker and more muted purples and oranges, one at night with darker blues and purples, and one at dawn with brighter yellows and blues. Although the lighting for these can be somewhat similar, I wanted to use these details to show how things can change for the worst seemingly overnight. I like the idea of having the same person and environment in each painting, but at different stages of being overgrown. In the first one, I would have them standing, in the second having them sitting down, and in the third having them laying down and sleeping. As they progress, I would having flowers growing out of them, like in "Carbone I."
Once I came up with a solid idea, I started to sketch it. I did the sketches digitally on Procreate, which made it much easier to move around different elements and size them the way I need. In order to get as close as possible to what I wanted, I used an app that allowed me to pose figures in exactly the way I needed. This way, I was able to get more consistent angles and poses as opposed to having to find very specific images online. From here, I separated my canvas into three sections and made the sketch. I started with the background, and sketched it across all three sections of the canvas so that it would match up when put on the final pieces. I wanted to make sure there were interesting elements in each of the three sections so that none of them would look boring or confusing on their own. After doing this, I used my reference images to add in the three figures. To show the difference between the three paintings, I added a lot more elements of nature to the last painting compared to the first. I used the second painting as a sort of midpoint between the other two to show the progression. After making the sketch, I planned to transfer it onto the canvas, and then use oil paint to finish the painting.
Once I came up with a solid idea, I started to sketch it. I did the sketches digitally on Procreate, which made it much easier to move around different elements and size them the way I need. In order to get as close as possible to what I wanted, I used an app that allowed me to pose figures in exactly the way I needed. This way, I was able to get more consistent angles and poses as opposed to having to find very specific images online. From here, I separated my canvas into three sections and made the sketch. I started with the background, and sketched it across all three sections of the canvas so that it would match up when put on the final pieces. I wanted to make sure there were interesting elements in each of the three sections so that none of them would look boring or confusing on their own. After doing this, I used my reference images to add in the three figures. To show the difference between the three paintings, I added a lot more elements of nature to the last painting compared to the first. I used the second painting as a sort of midpoint between the other two to show the progression. After making the sketch, I planned to transfer it onto the canvas, and then use oil paint to finish the painting.
Process :
STEP ONE
In order to start this piece, I needed three canvases to work on. To make these, I started by creating three wooden frames. I stretched the canvas over the frames, making sure the it wasn't loose. While stretching, I staples the sheet of canvas onto the frame, and continued this process for the entire thing, I repeated this three times in total, and moved onto the gessoing process. Personally, I like having a lot of texture on my canvas when I'm painting. To create this effect, I used thinker gesso, and didn't water it down. After painting the front of the canvas, I made sure the also get the sides. I also went a little bit onto the back, just so none of the raw canvas is seen from the front or side. Again, I did this to all three canvases. Once the gesso dried, I began with the sketching process!
In order to start this piece, I needed three canvases to work on. To make these, I started by creating three wooden frames. I stretched the canvas over the frames, making sure the it wasn't loose. While stretching, I staples the sheet of canvas onto the frame, and continued this process for the entire thing, I repeated this three times in total, and moved onto the gessoing process. Personally, I like having a lot of texture on my canvas when I'm painting. To create this effect, I used thinker gesso, and didn't water it down. After painting the front of the canvas, I made sure the also get the sides. I also went a little bit onto the back, just so none of the raw canvas is seen from the front or side. Again, I did this to all three canvases. Once the gesso dried, I began with the sketching process!
STEP TWO
Before I even started transferring the sketch, I lined up all three canvases and drew a line through the middle of them. This helped me to line them up so the sketch was even and also serve as a reference point. I also drew this line on the smaller sketch so I could see where the bigger elements were in relation to each other. For the background, I hand drew the image onto the three canvases. It helped me to work on all three at once, as I was able to make sure the sketches lined up exactly. Once I finished with the background, I worked on the figures. To do this, I printed out each of the digital sketches onto their own piece of paper. This was about the size I wanted, and helped to keep them consistent as opposed to hand drawing each one. After printing them, I cut the out and lined them up to were I wanted them on the canvas. After drawing on the background, I drew the general figures as guidelines for the placement, so this helped a lot. Once they were lined up, I drew on the back of the paper with graphite and transferred it similar to how you would with charcoal transfer paper. After cleaning up the lines and making sure the sketch was accurate to what I wanted, I used a wash of watered down acrylic to each of the paintings. I used purple and orange on the first, purple and blue on the second, and blue and yellow on the third. All of these corresponded with the lighting and color scheme with their respective time of day. |
STEP THREE
Once the sketches were finished, it was finally time to start painting. I completed each painting one at a time, except for the people, which I did once everything else was finished. In this first painting, I wasn't exactly sure where to start, so I created some base colors to use throughout. I mixed a couple different purples and oranges, and then got started on the sky. Using pictures of sunsets as a reference, I added brighter oranges toward the bottom of the sky and then darker, more muted purples toward the top. In blended these out the best I could, and then used a light orange color to create clouds. I messed around with how this all looked for a little while, and eventually got it to look how I was hoping. Next up was the mountains! |
For the mountains, especially the ones further back, I found my palette knife to be super useful for creating texture and different color mixtures. I painted on a base coat of a couple different shades and values, and then used the palette knife to add more colors. I tried to use the lighter oranges as a highlight shade, putting it primarily where the sun would be hitting or back lighting the different forms and shapes. I also used the dark purples for places where it would be in shadow. For the ground the person is standing on, I wanted to use a more neutral color, and then added some other colors in for a subtle contrast. Here I also used purple to created shadows from the figure, mountains, etc... The last thing I needed to finish from here was the water. To do this, I took a very light, sort of muted, purple and filled in the spaces where it would go. I used light oranges again for the sunlight, and then matched similar colors to the mountains to create reflections in the water. The last thing that I think pulled the water together was adding a right of white wherever something was submerged into it, such as rocks or small islands. This helped to show where the water ends and the land begins. From here, I added the finishing touches. These included the ring around the planet, similar to Saturn, a couple flowers, and then just cleaning up some smaller details to make them more clear.
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STEP FOUR
After finishing the first painting, I moved onto the second. At this point, I had gotten the hang of the painting process a lot more, and was much more comfortable with what I was doing. Again, I started with the sky. This time, I had the light source coming from the moon. I used lighter blues for highlights, and then darker blues and purples for shadows. Instead of creating clouds in the sky, I tried to make it look sort of foggy, especially by the moon. To do this, I used the lighter colors and blended them into the darker ones, focusing on the edges of the moon and near the mountain that was facing it. To make the moon in itself, I used white paint, and then blended it in with the blues around it so it wouldn't be pure white. For the stars, I mixed light blue with linseed oil to thin it out a little, and then used the back of a paint brush to dot them on. I did try splattering it, but the paint was too think and the splatters that did come out didn't end up looking good.
After finishing the first painting, I moved onto the second. At this point, I had gotten the hang of the painting process a lot more, and was much more comfortable with what I was doing. Again, I started with the sky. This time, I had the light source coming from the moon. I used lighter blues for highlights, and then darker blues and purples for shadows. Instead of creating clouds in the sky, I tried to make it look sort of foggy, especially by the moon. To do this, I used the lighter colors and blended them into the darker ones, focusing on the edges of the moon and near the mountain that was facing it. To make the moon in itself, I used white paint, and then blended it in with the blues around it so it wouldn't be pure white. For the stars, I mixed light blue with linseed oil to thin it out a little, and then used the back of a paint brush to dot them on. I did try splattering it, but the paint was too think and the splatters that did come out didn't end up looking good.
I moved onto the mountains, using similar techniques as I did in the first painting. Again, the palette knife proved to be very useful in creating texture and blending the colors together in a way that wasn't always super smooth. To create a muted color for the land area, I mixed a little bit of yellow into the light purple. This helped me to create contrast from the light purple of the water, since they were pretty similar due to the more limited color palette. I did the same thing for the water, using the mountain colors to create a reflection and then white to show where they submerged. The part that differed from the first painting was the flowers and plants. I purposely added very few to the first, as the point of this painting was to show the progression of mental health and self destruction. In this one, I painting in a lot more flowers, as well as grassy areas and trees. The trees are in the background, and I created them as a silhouette since it was nighttime. To create the flowers, I took a dark purple, almost red, and created sort of blobs around the piece, whether on the ground or in the mountains. I also added some more subtly in the mountainsides to create a more interesting texture. This was inspired by how Levasseur uses patterns and textures in her nature scenes, even in the places they wouldn't be, like rocks and mountains. After these final details were added, I was on to the third and final painting.
STEP FIVE
Once I got to the last painting, I knew how to complete the process most efficiently, since I had already done it two other times. My color palette for this was based on sunrises, and I used mostly blue and yellows, with a little bit of orange to bring some warmth in. For the sky, I tried to show the effect of the sunlight coming up past the mountains and the sky getting light again. I used orange and yellow towards the bottom, and then light blue towards the top. I also made some sort of clouds, but I didn't want them to be the same big, fluffy ones as in my first painting. Instead, I wanted them to look a little foggier, similar to the second painting. To do this, I used white paint to blend into the colors already in the sky. For the mountains, I had them primarily a darker, very cool blue color. I mixed small amounts of yellow and orange into the blue to create a green color, and used it to show slight shifts in value and hue. I used a light yellow for the lighting, and tried to light the areas that would be hit by the sun.
Once I got to the last painting, I knew how to complete the process most efficiently, since I had already done it two other times. My color palette for this was based on sunrises, and I used mostly blue and yellows, with a little bit of orange to bring some warmth in. For the sky, I tried to show the effect of the sunlight coming up past the mountains and the sky getting light again. I used orange and yellow towards the bottom, and then light blue towards the top. I also made some sort of clouds, but I didn't want them to be the same big, fluffy ones as in my first painting. Instead, I wanted them to look a little foggier, similar to the second painting. To do this, I used white paint to blend into the colors already in the sky. For the mountains, I had them primarily a darker, very cool blue color. I mixed small amounts of yellow and orange into the blue to create a green color, and used it to show slight shifts in value and hue. I used a light yellow for the lighting, and tried to light the areas that would be hit by the sun.
After finishing the majority of the mountains, I moved onto the water and land areas. For the water, I used a very light blue color, and added reflections in the same way I had been doing in the previous two paintings. I also wanted to make the water look like it was moving a little bit. To do this, I use white paint to look like sea foam or waves in the same way I had done when the water met the land or when something was submerged into it. For the land area, I used a sandy color, which kind of makes it look like a beach. I added blue to a yellow orange color to mute it, since I didn't want it to be super bright. I put in the shadows from the figure and other objects, and the light from the sun and the sky. After the environment was done, I started with adding the plant details. This painting is the one I wanted to have full of plants, sort of looking overgrown. The person in the painting will have plants growing from her, but I wanted the environment to reflect it as well. I used a magenta color for all the plants. I used this color since it is very warm and contrasted a lot with the cool colors of the rest of it. I feel like this helps add more interest and focus to the plants and what they are meant to symbolize. I painted in a lot of grass and flowers closer to where the viewer is, and then tree farther away. I also used the magenta to paint into the mountainsides, similar to the second painting. This helped bring the painting together and gave the colors more harmony. After the plants, all three backgrounds were done, and all that was left was the people!
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STEP SIX
The last element I had to finish with was the people. This process wasn't super complicated, since I had them sketched and blocked out. I did the third painting first, since it would have the most detail. To start, I blocked in the main colors. I added some shadows in, using bluer tones in the same way I had with the background. I also added red/pink on the cheeks and joints to make her look less dead, cause it looked very lifeless without any color. I wanted darker hair and clothes, which definitely contrasted with the lighter skin. I did eventually go back and darken the shadows so she looked less dead, once again. I repeated the color blocking for the first and second paintings as well. After the first round of color blocking, I went in to add details to the faces and more rendering on the bodies. This mostly consisted of trial and error. My sketch lines were pretty much gone at this point, so I had to freehand the face. I looked back and forth from my sketches for reference until it eventually looked how I wanted. I also added added more shading and rendering to the body, with deeper shadows and brighter highlights. I repeated this for the other two paintings, and then added in the flowers and other plants. Since I did the third painting first, I added a lot of them, and wanted it to look like she was almost becoming a part of the nature around her. I started with the same magenta color I had used in the background, but then also started adding in a lighter pink and a lighter blue/purple. For the second painting, I added some, but not nearly as many. For the first, I didn't add any around her at all.
The last element I had to finish with was the people. This process wasn't super complicated, since I had them sketched and blocked out. I did the third painting first, since it would have the most detail. To start, I blocked in the main colors. I added some shadows in, using bluer tones in the same way I had with the background. I also added red/pink on the cheeks and joints to make her look less dead, cause it looked very lifeless without any color. I wanted darker hair and clothes, which definitely contrasted with the lighter skin. I did eventually go back and darken the shadows so she looked less dead, once again. I repeated the color blocking for the first and second paintings as well. After the first round of color blocking, I went in to add details to the faces and more rendering on the bodies. This mostly consisted of trial and error. My sketch lines were pretty much gone at this point, so I had to freehand the face. I looked back and forth from my sketches for reference until it eventually looked how I wanted. I also added added more shading and rendering to the body, with deeper shadows and brighter highlights. I repeated this for the other two paintings, and then added in the flowers and other plants. Since I did the third painting first, I added a lot of them, and wanted it to look like she was almost becoming a part of the nature around her. I started with the same magenta color I had used in the background, but then also started adding in a lighter pink and a lighter blue/purple. For the second painting, I added some, but not nearly as many. For the first, I didn't add any around her at all.
Experimentation :
Throughout the process of making this painting, I did a lot of different experimentation. Although I have used oil paints before, I primarily practiced with portraits or still lives. This was much bigger and much different, so I had to experiment with many different techniques before finding something that worked well for me. One of the first things I experimented with was the use of a palette knife vs a brush. I was used to only really using a brush, since most of my previous oil paintings were relatively small, making it harder to add details with the knife. With this piece though, it was very big and a brush oftentimes didn't cut it when it came to spreading paint evenly and efficiently. Although I was able to thin out the paints with mineral spirits in order to get a larger coat of paint with a brush, I found that a palette knife was much more effective, as I could use it to pick up and move around the colors as I needed. I also found that using a palette knife created a texture that I just couldn't get with a brush. Although I did like how the smoother blending looked in some parts of the painting, such as the clouds, I found that the scraping texture really brought out the rough, rocky elements of a mountainside. It also helped with things like the water, where I was able to mimic the effect of a reflection by using the palette knife to spread the colors being reflected into the water, which blended it together just enough that it didn't look confusing. I also found the palette knife to be very useful in the flowers, as it made them look more natural, even though it was just painted on to look like the rough shape, and not realistic. I think it looked better then the ones painted on with a brush, as it didn't blend into the background as much and looked more like it was its own separate thing.
I also experimented with my use of color quite a lot. I had a rough idea of what I wanted the color palette to look like for each painting, but I wasn't entirely such how to execute this. I started by adding a wash of the colors I wanted to use, which gave me a good sense of how the colors wold look when finished. One thing that helped me a lot was starting each painting with 6-7 base colors. I usually created these by making a large amount of one or two colors, orange and purple, for example. From here I would slightly change the hues and values by adding small amounts of other colors, as well as mixing the new colors together. I also found that the best hay to make the colors more cohesive on the painting was to only add the the previous colors that had already been used. Instead of mixing new colors altogether, changing the ones I already had helped to make the whole thing come together much better. It looked a lot less muddy and much more clear. When actually using the colors on the paintings, I tried my best to blend colors together that were similar, but also add different colors to contrast them. This made the different elements look more natural and less like I had used one color for each part, with just lighter and darker versions.
Overall, the experimentation helped me a lot with figuring out the best way to go about putting the paint on the canvas, as well as making the color palette cohesive and interesting.
I also experimented with my use of color quite a lot. I had a rough idea of what I wanted the color palette to look like for each painting, but I wasn't entirely such how to execute this. I started by adding a wash of the colors I wanted to use, which gave me a good sense of how the colors wold look when finished. One thing that helped me a lot was starting each painting with 6-7 base colors. I usually created these by making a large amount of one or two colors, orange and purple, for example. From here I would slightly change the hues and values by adding small amounts of other colors, as well as mixing the new colors together. I also found that the best hay to make the colors more cohesive on the painting was to only add the the previous colors that had already been used. Instead of mixing new colors altogether, changing the ones I already had helped to make the whole thing come together much better. It looked a lot less muddy and much more clear. When actually using the colors on the paintings, I tried my best to blend colors together that were similar, but also add different colors to contrast them. This made the different elements look more natural and less like I had used one color for each part, with just lighter and darker versions.
Overall, the experimentation helped me a lot with figuring out the best way to go about putting the paint on the canvas, as well as making the color palette cohesive and interesting.
Critique :
For this critique, I will be comparing my own piece to the three by Alexandra Levasseur pictured below.
Similarities May Include :
- Texture shown through brushstrokes and other painting techniques. In both Levasseur's paintings and my own, you can see the texture within the piece. Using different brushes, palette knives, or paint consistencies can create interesting textures that emphasis and draw attention to different shapes and forms within the artwork.
- The character have some sort of relationship with their environment. Both sets of artwork are placed in vast landscapes with lots of elements of nature. The figures within these paintings interact with these landscapes in different ways, whether sitting in the water or becoming a part of the nature with plants growing out of them.
- The feeling of loneliness and calm. In Levasseur's paintings, her figures are all shown to be lonely or in states that would normally induce panic, but it is calm instead. In my own painting, The figure is progressing further into loneliness, becoming a part of the plants, but does not seem outwardly distressed or panicked.
Differences May Include :
- The color palette. Levasseur's pieces contain soft and muted colors throughout. In my own piece, I used more bright and bold colors to show the different times of day I had wanted to portray.
- The detail level in the flowers and plants. In Levasseur's work, particularly "Carbone I," she uses a lot of detail to show the flowers overtaking her character. In my piece, I wanted to make more of an impression of the plants. I felt like since the painting was so big, adding lots of small details in some spots well not as many in another would make it look too busy.
Reflection :
While creating this piece, I was able to build upon the skills I already had in order to create something that i was quite happy with. My inspiration for this project was Alexandra Levasseur, who uses a variety of mediums to create her artwork. They include lots of soft, yet contrasting color palettes, and somber, lonely looking figures. One thing I focused on a lot was how she used the color and texture. Although the color palettes were quite different, I tried to use them in the same contrasting way and show texture through brushstrokes and a palette knife. My biggest challenge when approaching this artwork was probably the size. This is probably the biggest painting I've ever made, and it took a lot of getting used to in order to fill the space and make it look good. I didn't want the painting to look boring, so I had to do a lot to make it more interesting. I'm used to adding a lot of detail into a lot of my artwork, but at a much smaller scale. Having to do it this large meant, while there was a lot of room for more detail, there was also a lot of room for emptiness. I was able to work through this by adding things like flowers and other plants, but I definitely had to be more conscious about what I was doing, where I was doing it, and why. Last year during quarantine, I decided to take a weekend class at MIAD, and one of the two I had taken was oil painting. I learned a lot in the class, but it mainly focused on doing still lives of things like fruit or just whatever we had around us. I hadn't really used oil paints since then, apart from a couple paintings I did over the summer, so I was still pretty new to them when I began this piece. Using the little background that I had, I was able to grow my skills in a way that helped me improve a lot. I really enjoyed learning different techniques and methods while creating this, and it definitely sparked my interest to continue with oil paints in the future. My favorite part of this was definitely working with three different color palettes within the same piece. Since the piece was spread over three separate paintings, I was able to differentiate them through the use of color. I really enjoyed playing around with the different lights and shadows, different colors, and different times of day. My least favorite part was probably figuring out the composition. I'm not used to painting or drawing landscapes, and much less ones that don't exist. I was able to get past this by looking through Levasseur's work and seeing what common elements she included. This helped me to figure out what I wanted to include in my own, and eventually come up with something I liked. In conclusion, I want people to see my artwork and see the techniques and colors I used to portray the progression of mental health and self-destruction.
ACT Questions :
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
Using Alexandra Levasseur as inspiration, I focused a lot on the relationship she portrayed between her characters and the environment they are placed in.
What is the overall approach the author has regarding the topic of your inspiration?
Even though life might seem to be beautiful or perfect on the outside, it can often be a cover for the self-destruction of mental health.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
Having to consciously keep up the appearance of being happy and calm can actively cause mental health to worsted very quickly.
What is the central idea or theme around your inspirational research?.
Levasseur focuses many of her paintings on both the desire and fear from her characters toward the environment they are in and how they become a part of each other in some sort of relationship.
What kind of inferences did you make while reading your research?
When the people within an artwork at directly interacting with the environment they are placed in, it can create a more interesting and more meaningful piece.
Using Alexandra Levasseur as inspiration, I focused a lot on the relationship she portrayed between her characters and the environment they are placed in.
What is the overall approach the author has regarding the topic of your inspiration?
Even though life might seem to be beautiful or perfect on the outside, it can often be a cover for the self-destruction of mental health.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
Having to consciously keep up the appearance of being happy and calm can actively cause mental health to worsted very quickly.
What is the central idea or theme around your inspirational research?.
Levasseur focuses many of her paintings on both the desire and fear from her characters toward the environment they are in and how they become a part of each other in some sort of relationship.
What kind of inferences did you make while reading your research?
When the people within an artwork at directly interacting with the environment they are placed in, it can create a more interesting and more meaningful piece.
Citations (in MLA Format)
Levaseur, A. (2021). Alexandra Levasseur. ALEXANDRA LEVASSEUR. Retrieved November 30, 2021, from https://www.alexandralevasseur.com/.
Levasseur, Alexandra. Arrêter le temps, 2016. https://www.alexandralevasseur.com/art/peinture?itemId=hkyo0ah4hvo4u19ygnp5ndr1vg6rua
Levasseur, Alexandra. Perception II, 2019. https://www.alexandralevasseur.com/art/peinture?itemId=nc72elq9tk05upxeznfrl7eb50p8dm
Levasseur, Alexandra. Carbone I, 2015. https://www.galeriecoa.com/collections/alexandra-levasseur/products/carbone-ii
Levasseur, Alexandra. Arrêter le temps, 2016. https://www.alexandralevasseur.com/art/peinture?itemId=hkyo0ah4hvo4u19ygnp5ndr1vg6rua
Levasseur, Alexandra. Perception II, 2019. https://www.alexandralevasseur.com/art/peinture?itemId=nc72elq9tk05upxeznfrl7eb50p8dm
Levasseur, Alexandra. Carbone I, 2015. https://www.galeriecoa.com/collections/alexandra-levasseur/products/carbone-ii