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NIAOULI BARK ( by Anne-Marie d'Anglebermes.) |
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To create these original art works, the artist uses the generous bark from this majestic King of the Caledonian savannah. The bark can change colours and aspects depending on when and where it is picked.
After carefully cleaning the bark, it is treated then dried in the sun. Anne-Marie arranges the pieces so that they overlap each other. This gives the landscape a 3D illusion and draws our attention to the savannah and small valleys.
The reproductions of these works, which are offered in gallerys 1 et 2, copy in a very precise and photographic way the soft and voluptuous aspect of Niaouli bark from New Caledonia. |
The artist finalizes her works in her workshop.
Depending on her inspiration at the time, she sometimes paints a landscape representing Caledonian bush life directly onto the bark. These landscapes are adorned with brightly coloured trees and blooming Niaoulis under which we can see cattle and horses not far from a house, a windmill or a hut.
The Niaouli is a very widespread tree on the Main Island and certain smaller islands off the coast of New Caledonia.
The essence obtained from its leaves is often used to treat colds, arthritis, and other pains. |
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The stockmen and cow breeders coat their horses in Niaouli essence to keep away flies and other parasites.
Niaouli bark is also used by Melanesians to make hut walls and torches. When the torches are lit, the smoke helps calm bees and thus enables the people to recuperate the honey from the comb.
Niaouli trees bloom several times a year. The Niaouli flower is white and has a wonderful odour. Certain animals are crazy about them, such as fruit bats, parakeets and bees. |
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THE NATURAMIS: RAISED COLLAGES OF NATURAL ELEMENTS AND STENCILED PAINTINGS ON A TAPA BACKGROUND ( by Patrick Duffieux ) |
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"On an Oceanian background…the tapa…in a Melanesian context…carved bamboo, I will tell you the stories and legends of my country, New Caledonia."
The background is made of TAPA, a typical Oceanian craft. The fabric is made by superposing plant fibres taken from the bark of wild mulberry trees. Some Oceanian people groups use TAPA during their custom ceremonies. It is considered precious and mythical. |
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The artist gives this noble support a new meaning by illustrating the tribal life of populations whose customs and morals come from another time.
Attached to the support like the poles of a canoe, the carved bamboo makes a frame in the middle of which are figures, stencilled in by using dark sand mixed with a binding substance.
The artist then uses natural elements like coconut tree fibres, Niaouli bark, fern leaves, pine needles, material from the inside of coconuts, and other drift woods.
To finish his work, river pebbles are arranged in such a fashion that the spectator has the impression that he/she is looking at a 3D landscape with enormous carved rocks.
Patrick Duffieux’s styles and techniques, created in 1994, do not exist anywhere else in the world today.
The word “Naturami”, which is our brand name, is back slang for ‘Ami Nature’- or friends of nature. Any resemblance to “Japanese” words is purely accidental.
The Naturamis offered to you online are the reproductions of our original art works, scanned then “giclee” printed on special supports.
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ACRYLIC PAINTINGS ON CANVAS ( by Patrick Duffieux ) |
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Patrick has loved drawing and painting of all kinds since he was a little boy. Today this self-taught artist uses acrylic paint on canvas to portray, in a realistic and luminous way, the Caledonian landscapes from the north to the south of the Main Island and Loyalty Islands.
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| " Le Lagon & La Roche Percée de Bourail " |
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| A selection of Patrick Duffieux’s original artworks is offered in the form of reproductions on gallerys 1 et 2 |
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RED DIRT
FROM THE SOUTH
THE SEA, THE LAGOON
MARINE BACKGROUNDS
THE SAVANNAH
SCENES FROM
CALEDONIAN LIFE |
" Retour de chasse " |
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NATURAL SANDS ( by Anne-Marie d'Anglebermes ou de Patrick Duffieux ) |
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| Even though they each have their own style and inspiration, both artists use naturally tinted sands gathered from various beaches from their travels throughout the country. |
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This technique requires the design to be traced on a special support.
Then the parts that need to be coloured are cut out with a scalpel and assembled.
The sand is arranged directly onto the glue. |
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DIGITAL PAINTING ( by Patrick Duffieux et Anne-Marie d'Anglebermes) |
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After having digitally created the picture, the artist uses a painting software tool and retouches the image. The finished work is then printed on canvas.
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| Techniques used by the artist to create an original artwork from a reproduced model. |
Accompanying each page from Galleries 1 and 2 is the symbol |
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which informs you about the techniques used by |
the artist to create originals (which serve as models for future reproductions). |
These are offered in a “giclee” print format on special art supports (paper or canvas depending on the stock available) in two ways :
1- Small ready-to-hang framed paintings (gallery 1)
2- “Giclee” prints on canvas in a protective tube (galery 2)
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| Standard printing technique : |
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Offset, this heavy industrial process based on the technique of “inking the stamp” is especially used for things such as: post cards, posters, magazines, newspapers and other printed material. Most often it is on paper.
This solution requires a tight collaboration with several processes such as photogravure, mounting the offset, and the master printer, which is the ultimate step.
This process of synchronisation presents numerous constraints for the artist if he/she wants to accurately duplicate his/her work. The artist has to comply with the machines’ techniques and there is a very short time between the finalizing and the printing. |
| “Giclee” printing technique : |
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Even though it is expensive, “giclee” printing is becoming more and more used by painters and photographers who want to accurately reproduce their original works.
This technological process called “giclee” is now recognized world wide as being one of the best options for its rapidity and accuracy. Certain art museums, which prefer exhibiting replicas for security reasons, also prefer this method.
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Our choice : |
This method allows us to control the reproduction of our works and the accuracy of the colours in order to offer the best possible replica of our originals.
The quality and stability of the supports and “giclee” inks give a real added value to our paintings. Each one is stamped “Naturami Collection” certifying that they do indeed come from our creation and reproduction workshop.
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