Jean-Pierre Craninx
Detail gallery
The signature of Jean-Pierre Craninx, always affixed to the front of the work, is atypical.
Indeed, its monogram (the letters J, P and C) is inserted directly into the pictorial material, in relief.
A bit like we did in the Middle Ages with a wax seal. This solution makes it possible to prevent a too present signature within the work and affirms its authenticity.
Indeed, its monogram (the letters J, P and C) is inserted directly into the pictorial material, in relief.
A bit like we did in the Middle Ages with a wax seal. This solution makes it possible to prevent a too present signature within the work and affirms its authenticity.
The particularity of Jean-Pierre Craninx's work consists in "working" different types of blacks, most often "structured" on a single painting.
The illustration photo is not a montage, it is the viewing angle of a portion of a painting, where we can distinguish two types of blacks with a different underlying relief.
The illustration photo is not a montage, it is the viewing angle of a portion of a painting, where we can distinguish two types of blacks with a different underlying relief.
The reflection on different types of black surfaces is one of the specific features of Jean-Pierre Craninx's work.
An underllying structure in relief (here in mineral base to avoid shrinkage in this photo) and covered with a glossy black lacquer allows powerful play of light.
An underllying structure in relief (here in mineral base to avoid shrinkage in this photo) and covered with a glossy black lacquer allows powerful play of light.
The pictorial material used is not always necessarily glossy or satin.
What better way to make a luminous black vibrate than to put it side by side with a black that absorbs light.
Jean-Pierre Craninx regulary use the black created by Stuart Semple and which describes as "almost absolute" black. This pictorial material is supposed to absorb more than 90 % of the incident light.
What better way to make a luminous black vibrate than to put it side by side with a black that absorbs light.
Jean-Pierre Craninx regulary use the black created by Stuart Semple and which describes as "almost absolute" black. This pictorial material is supposed to absorb more than 90 % of the incident light.
The mattness, shine, depth are unmatched using high quality professional pigments and paints for art. Precious varnishes are also used.
Jean-Pierre Craninx nevertheless explores modern techniques that allow us to go even further : epoxy resin, pigments with carbon nanotubes, glass microbeads, natural diamond powder, etc..
This is one of the main dimensions of the work of Jean-Pierre Craninx who puts no limits in terms of exploring techniques, wether old or 21st century.
Jean-Pierre Craninx nevertheless explores modern techniques that allow us to go even further : epoxy resin, pigments with carbon nanotubes, glass microbeads, natural diamond powder, etc..
This is one of the main dimensions of the work of Jean-Pierre Craninx who puts no limits in terms of exploring techniques, wether old or 21st century.
Some scenarios
