Where have all the flowers gone ?
Year: 2021
Material/Technique: Ink, Charcoal, Pastel, Acrylic, Guazh, Paper
Size: 75 × 49 cm
Edition: Unique
Signed:Not Set
This artwork is available for purchase.
USD 2,004
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.

About the Work
- Year
- 2021
- Material/Technique
- Ink, Charcoal, Pastel, Acrylic, Guazh, Paper
- Size
- 75 × 49 cm
- Edition
- Unique
- Signed
- Not Set
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- Camille Fischer
- Ship-from Area
- Abroad
- Days Until Dispatch
- Not Set
- Category
- Drawing
- Style
- Quiet, Emotional, Primitivism, Romantic, Outsider Art, Fantasy, Others
Work Details
This drawing is part of a series of
plants painted in the manner of a paradise herbarium,
where glittery touches bring light out of shadow.
mixed media on newsprint paper
watercolor, ink, chinese ink, gouache, acrylic, charcoal, pencil, metallic pigment and glitter
2021
Strasbourg
※海外から発送の作品になりますので、購入お問合せの際のお名前と住所の入力は日英両方ご記入ください
関連記事
Salut! Tokyo Vol.4 Camille Fischer
How to Buy
This artwork is available for purchase.
USD 2,004
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
Stained Eyes IV
Camille Fischer, lives and works in Strasbourg. She is a graduate of the Royal Academy of Antwerp (fashion design) and the HEAR Strasbourg (jewellery workshop). Her works balance between fashion, jewellery and contemporary art. She is represented in Paris by Maïa Muller gallery. Camille Fischer was born in 1984, lives and works in Strasbourg and is represented in Paris by the Maia Muller gallery. She is a graduate of the Royal Academy of Antwerp (fashion design) and the HEAR Strasbourg (jewellery workshop). Her practice is multidisciplinary, combining drawings, collages, objects, jewellery, clothing, textiles, performances and installations to reach a "Gesammkunstwerk". The baroque aesthetic she developed fits in some ways in a symbolist heritage, that she’s assuming actually, quoting William Morris, Maeterlinck or Huysmans for instance. Comparable in sophistication, this work differs, however, in refusing the morbid fascination, but retaining the historical concern of artists then, before the changes announced by the industrial revolution, which echoes her generation to the comparable contemporary challenges of globalization.
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