Elisabet d'Epenoux was born in Buenos Aires. She spent her childhood back and forth between the French Campaign, the coast of Bretagne, and the countryside in the Argentine Pampas where she developed her love for nature reflected in her work. Soon she learned to adapt herself to this constant triangulation manifested in her work as a "perpetual trilogy." This characteristic is shown in the diversity of her work as she moves from oil to acrylic to watercolors, from brushes to spatulas to fingers, from earth to water to air, from landscape to botanical to animals. There are three locations where she is inspired to paint as she switches back and forth between her three ateliers located in Buenos Aires City, on the family ranch in the Argentine Pampas, and by the sea on the Florida east coast. It is difficult to categorize her in a style or line of work, most paintings share common elements such as freedom, light, peace, open spaces and a balanced color palette.
More information can be found in www.depenoux.com
As a photographer she use her camera to capture those infinitesimal moments that exists in nature but our brains tend to filter letting us see only the part of it that we can decode. Her photographs are not processed in any way they only show the reality of that unrepeatable instant that for the untrained eye looks like “Distorted Reality”
For more than a year, some art critics and clients were questioning my self-portrait painting. Everybody agreed that the image did not even get close to what a portrait should look like. One of my creative clients came to my rescue with a fancy theory that he had discovered the painting is indeed a valid self-portrait because it is the reflection of my spirit or the color of my soul. The answer is much more simple than that. Some artists portray themselves with the aid of a mirror or a photograph, well I used both. The only difference is that I used the water undersurface as a mirror.
Woodcut—occasionally known as xylography—is a relief printing artistic technique in printmaking in which an image is carved into the surface of a block of wood with the printing parts remaining level with the surface while the non-printing parts are removed, typically with gouges. The areas to show 'white' are cut away with a knife or chisel, leaving the characters or image to show in 'black' at the original surface level. The block is cut along the grain of the wood (unlike wood engraving where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas