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Natacha Donzé

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Open a larger version of the following image in a popup: Natacha Donzé, Spinalscraper I, 2025
Open a larger version of the following image in a popup: Natacha Donzé, Spinalscraper I, 2025
Open a larger version of the following image in a popup: Natacha Donzé, Spinalscraper I, 2025
Open a larger version of the following image in a popup: Natacha Donzé, Spinalscraper I, 2025
Open a larger version of the following image in a popup: Natacha Donzé, Spinalscraper I, 2025
Open a larger version of the following image in a popup: Natacha Donzé, Spinalscraper I, 2025

Natacha Donzé

Spinalscraper I, 2025
Acrylic on canvas
120 x 290 cm
47 1/4 x 114 1/8 inches
Copyright The Artist
Photo: Marjorie Brunet Plaza
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Weitere Abbildungen

  • (View a larger image of thumbnail 1 ) Natacha Donzé, sleepwalk II, 2023
  • (View a larger image of thumbnail 2 ) Natacha Donzé, sleepwalk II, 2023
  • (View a larger image of thumbnail 3 ) Natacha Donzé, sleepwalk II, 2023
  • (View a larger image of thumbnail 4 ) Natacha Donzé, sleepwalk II, 2023
  • (View a larger image of thumbnail 5 ) Natacha Donzé, sleepwalk II, 2023
  • (View a larger image of thumbnail 6 ) Natacha Donzé, sleepwalk II, 2023
„Spinalscraper I“ (2025) setzt sich aus mehreren Leinwänden zusammen, auf denen sich ein schlangenartiges Skelett erstreckt und sich endlos selbst verschlingt. Fossil, Kursverlauf, Verdauungssystem – Donzé verbildlicht den Rhythmus eines...
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„Spinalscraper I“ (2025) setzt sich aus mehreren Leinwänden zusammen, auf denen sich ein schlangenartiges Skelett erstreckt und sich endlos selbst verschlingt. Fossil, Kursverlauf, Verdauungssystem – Donzé verbildlicht den Rhythmus eines Stoffwechsels, in dem Zusammenbruch Erneuerung nährt und Erschöpfung in Beharrlichkeit übergeht. „Spinalscraper I“ verkörpert das Prinzip des Überlebens als Zyklus, gefangen zwischen Erneuerung und Zerfall. Die Schlange wird zum Körper ohne Fleisch, zur Struktur ohne Ende und somit zum Abbild von Unendlichkeit.


With “Spinalscraper I” (2025), Donzé presents a panoramic sequence of canvases in which a serpentine skeleton stretches across multiple paintings, devouring itself endlessly. Fossil and market curve, digestive system and diagram, all at once and never completely. The image holds the rhythm of a metabolism, to consume, to dissolve, to begin again. “Spinalscraper I” embodies the principle of survival as cycle, caught between renewal and collapse. The snake transforms into a body without flesh, a structure without end, and thus becomes a reflection of infinity.
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