In 1971, Sabine Krawczyk entered the Rouen School of Fine Arts. It was there that she discovered, in Jacques Ramondot's studio, the techniques that today form her work and her pleasure: what Sabine Krawczyk loves about engraving is the "cuisine" and the surprises.
In 1971, Sabine Krawczyk entered the Rouen School of Fine Arts. It was there that she discovered, in Jacques Ramondot's studio, the techniques that today form her work and her pleasure: what Sabine Krawczyk loves about engraving is the "cuisine" and the surprises.
Engraving is demanding, whatever the medium, inks, or subjects chosen: it requires precision, attention to detail, and discipline. But, unlike drawing (which Sabine Krawczyk also practices with virtuosity), engraving allows the artist to understand that he or she cannot master everything: working backwards, the nature of the medium (copper, zinc, steel, plexiglass), the quality of the varnishes, minute variations in temperature and pressure, etc.
All this "cooking" encourages surprises (engravers have banished the word accident from their vocabulary) and, by freeing themselves from the ideal of perfection in drawing, gives a new meaning to the word freedom.
In France, in the 1970s, engraving was still considered a black and white iconography. Dürer, Goya, and Picasso were the main references. In Jacques Ramondot's studio, most of the students continued the tradition, but, with her strong taste for drawing, Sabine Krawczyk immediately decided to work with color.
Winner of the Casa Velazquez prize, after two years spent in Madrid, she first lived in Paris before setting up her studio in the countryside in the old school of a small village in the French Vexin.
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