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ABOUT<\/span><\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″]
![\"\"\/](\"https:\/\/guillaumerist.com\/wp-content\/uploads\/2025\/10\/portraitweb_peinture_2.jpg\")
<\/div><\/div><\/p>\n
Modeler, fa\u00e7onner, creuser, courber, tordre son sujet, le construire, prendre des chemins de traverse et rentrer dans les d\u00e9dales int\u00e9rieurs.<\/span><\/h5>\n<\/p><\/blockquote>[\/vc_column][vc_column width=\u00a0\u00bb2\/3″][vc_column_text]<\/p>\n
SUIVRE LA LIGNE<\/span><\/h5>\nGuillaume RIST est artiste plasticien fran\u00e7ais.<\/strong> Il d\u00e9veloppe une pratique situ\u00e9e \u00e0 l\u2019intersection du design, de la peinture, et de la sculpture murale<\/strong>. Son parcours initial en design industriel \u2014 amorc\u00e9 \u00e0 l\u2019\u00c9cole Maryse \u00c9loy – Beaubourg, puis approfondi \u00e0 l\u2019ESDI (\u00c9cole Sup\u00e9rieure de Design Industriel) \u2014 influence sa recherche plastique. Il a exerc\u00e9 pendant plusieurs ann\u00e9es comme designer graphique et directeur artistique au sein d\u2019agences d\u2019\u00e9dition, avant d\u2019orienter progressivement sa production vers une d\u00e9marche autonome en arts plastiques, engag\u00e9e professionnellement depuis 2020.
Sa pratique repose sur un travail de transformation formelle, o\u00f9 les objets ou figures r\u00e9f\u00e9renc\u00e9s sont soumis \u00e0 un processus de mod\u00e9lisation plastique : remodelage, torsion, courbure, dislocation, recomposition. Cette recherche s\u2019inscrit dans une dynamique de m\u00e9tamorphose, consistant \u00e0 faire \u00e9voluer la forme sans en alt\u00e9rer la charge s\u00e9mantique.
L\u2019artiste explore ainsi un entre-deux visuel :<\/strong> ni figuration stricte, ni abstraction totale, mais un \u00e9tat transitoire o\u00f9 le r\u00e9f\u00e9rent initial subsiste en filigrane.
Influenc\u00e9 par les courants du Pop Art et de l\u2019Op Art, tant dans le traitement graphique que dans l\u2019usage d\u2019une chromie satur\u00e9e et contrast\u00e9e, il construit une peinture o\u00f9 les effets de surface (lignes, motifs, aplats, rythmes visuels) produisent des tensions internes qui sollicitent l\u2019\u0153il du spectateur. Les compositions, souvent narratives, sont habit\u00e9es par un silence, des mises en sc\u00e8ne \u00e9nigmatiques, o\u00f9 coexistent \u00e9l\u00e9ments r\u00e9els et oniriques.<\/p>\nMODELING, une recherche sur la plasticit\u00e9<\/span><\/h5>\nSon travail s\u2019inscrit dans une d\u00e9marche de d\u00e9construction\/reconstruction formelle.<\/strong> Le processus commence par un travail de dessin pr\u00e9paratoire visant \u00e0 d\u00e9finir les contours, les zones de tension et les lignes de force de la forme d\u2019origine. \u00c0 partir de l\u00e0, l\u2019artiste engage un processus de distorsion, de fragmentation ou de reconfiguration volumique.
Graphiquement, cette transformation se traduit par l\u2019emploi de lignes courbes, d\u2019alternances de motifs lin\u00e9aires (rayures, vagues, ar\u00eates) et de contrastes chromatiques vifs, dans une logique proche d\u2019effet cin\u00e9tique . L\u2019agencement de ces \u00e9l\u00e9ments produit une dynamique interne, une chor\u00e9graphie dans le tableau. La couleur, pens\u00e9e comme vecteur de mouvement, renforce cette sensation de basculement entre figuration et abstraction.<\/p>\nOn retrouve son travail dans 4 th\u00e9matiques principales :<\/strong>
\u2022\u00a0 Les Reliefs Naturels<\/strong>, s\u00e9rie de sculptures murales en bois peint, explorant la relation entre g\u00e9om\u00e9trie organique et mati\u00e8re.<\/em>
\u2022\u00a0 Humans<\/strong>, \u00e9tude des figures humaines, souvent fragment\u00e9es ou recompos\u00e9es.<\/em>
\u2022\u00a0 Natures vivantes,<\/strong> revisiter le th\u00e8me de la nature morte, trait\u00e9e sous un angle symbolique et narratif.<\/em>
\u2022\u00a0 Les Classiques<\/strong>, r\u00e9interpr\u00e9tations d\u2019\u0153uvres iconiques de l\u2019histoire de l\u2019art, selon une grille plastique propre \u00e0 l\u2019artiste (d\u00e9construction graphique, recoloration, distorsion).<\/em><\/p>\nTECHNIQUES<\/span><\/h5>\nSon travail<\/strong> porte \u00e0 la fois sur la peinture en deux dimensions<\/strong> sur toile, et sur la peinture en volume<\/strong> au travers ses sculptures murales. \u00ab Les Reliefs<\/strong> naturels<\/strong>\u00bb regroupe une s\u00e9rie de sculptures murales associant peinture et sculpture avec une attention sur le travail de la mati\u00e8re,\u00a0 jouant le r\u00f4le de liant entre ses deux m\u00e9diums.<\/p>\nIl utilise l\u2019acrylique sur toile, ainsi que le collage, et le bois pour ses sculptures. Un autre support vient compl\u00e9ter son travail : la peinture num\u00e9rique. Avec la technique des estampes num\u00e9riques et les dessins r\u00e9alis\u00e9s sur palette graphique, il exp\u00e9rimente un rendu contemporain qui joue en particulier sur les superpositions de traits et d\u2019aplat couleurs.<\/p>\n
C\u2019est d\u2019abord une recherche formelle<\/strong> qui commence par le dessin : d\u00e9finir les contours, les pleins et les vides et trouver des lignes de force, choisir une palette de couleurs. Puis un report du dessin sur la toile et le d\u00e9but de la peinture.
Pour les sculptures<\/strong> : avant la peinture, c\u2019est une phase de d\u00e9coupe et assemblage en bois et papier avec en trame de fond un dessin pr\u00e9paratoire.<\/p>\nConclusion<\/span><\/h4>\nSa pratique s\u2019inscrit dans une r\u00e9flexion \u00e9largie sur la forme en mutation,<\/strong> o\u00f9 le dessin sert de matrice \u00e0 une exploration multi-supports : toile, volume, impression num\u00e9rique. \u00c0 travers cette approche technique rigoureuse, nourrie d\u2019un h\u00e9ritage graphique, il propose un langage plastique personnel, oscillant entre figuration transform\u00e9e et abstraction contr\u00f4l\u00e9e.<\/p>\n[\/vc_column_text]
<\/div><\/div>[\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][\/vc_column][vc_column width=\u00a0\u00bb2\/3″][vc_column_text]<\/p>\nFOLLOW THE LINE<\/span><\/h5>\nGuillaume RIST is a French visual artist. He develops a practice located at the intersection of design, painting, and mural sculpture.<\/strong> Her initial career in industrial design, initiated at the Maryse \u00c9loy – Beaubourg School, then deepened at the ESDI (Ecole Sup\u00e9rieure de Design Industriel), influences her plastic research. He worked for several years as a graphic designer and artistic director within publishing agencies, before gradually orienting his production towards an autonomous approach in visual arts, professionally committed since 2020.
His practice is based on a work of formal transformation, where the referenced objects or figures are subjected to a plastic modeling process: remodeling, torsion, curvature, dislocation, recomposition. This research is part of a dynamic of metamorphosis, consisting in making the form evolve without altering its semantic charge.
The artist thus explores a visual in-between: neither strict figuration nor total abstraction, but a transitional state where the initial referent remains in the background.
Influenced by the currents of Pop Art and Op Art, both in the graphic treatment and in the use of saturated and contrasted chromia, he constructs a painting where surface effects (lines, patterns, flat, visual rhythms) produce internal tensions that call upon the viewer\u2019s eye. The compositions, often narrative, are inhabited by a silence, enigmatic staging, where real and dreamlike elements coexist.<\/p>\nMODELING, a research on plasticity<\/span><\/h5>\nHis work is part of a process of deconstruction\/formal reconstruction.<\/strong> The process begins with preparatory drawing work aimed at defining the contours, tension areas and lines of force of the original shape. From there, the artist engages in a process of distortion, fragmentation or volumetric reconfiguration.
Graphically, this transformation results in the use of curved lines, alternating linear patterns (stripes, waves, edges) and vivid chromatic contrasts, in a logic close to kinetic effect. The arrangement of these elements produces an internal dynamic, a choreography in the painting. Color, thought as a vector of movement, reinforces this feeling of tipping between figuration and abstraction.<\/p>\nWe find his work in 4 main themes:<\/strong>
\u2022 The Natural Reliefs,<\/strong> a series of wall sculptures in painted wood, exploring the relationship between organic geometry and matter.
\u2022 Humans,<\/strong> study of human figures, often fragmented or recomposed.
\u2022 Living natures,<\/strong> revisiting the theme of still life, treated from a symbolic and narrative angle.
\u2022 The Classics,<\/strong> reinterpretations of iconic works from art history, according to a plastic grid specific to the artist (graphic deconstruction, recoloration, distortion).<\/p>\nTECHNIQUES<\/span><\/h5>\nHis work focuses both on two-dimensional painting on canvas, and on volume painting through his wall sculptures.<\/strong> \u00ab\u00a0Les Reliefs naturels\u00a0\u00bb brings together a series of wall sculptures combining painting and sculpture with an attention on the work of matter, playing the role of binder between its two mediums.<\/p>\nHe uses acrylic on canvas, as well as collage, and wood for his sculptures. Another medium completes his work: digital painting. With the technique of digital prints and drawings made on a graphic palette, he experiments with a contemporary rendering that plays in particular on the superposition of lines and flat colors.<\/p>\n
It is first of all a formal research that begins with the drawing: define the contours, the full and the empty and find lines of force, choose a palette of colors. Then a report of the drawing on the canvas and the beginning of the painting.
For the sculptures: before painting, it is a phase of cutting and assembling in wood and paper with a preparatory drawing as background.<\/p>\n
Conclusion<\/span><\/h4>\nHis practice is part of a broader reflection on the changing form,<\/strong> where drawing serves as a matrix for a multi-media exploration: canvas, volume, digital printing. Through this rigorous technical approach, nourished by a graphic heritage, he proposes a personal plastic language, oscillating between transformed figuration and controlled abstraction.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row][\/vc_row][vc_column][\/vc_column][vc_column_text][\/vc_column_text]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] \u00c0 PROPOS<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages\/2009"}],"collection":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2009"}],"version-history":[{"count":57,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages\/2009\/revisions"}],"predecessor-version":[{"id":11263,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages\/2009\/revisions\/11263"}],"wp:attachment":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2009"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/div><\/div><\/p>\n
Modeler, fa\u00e7onner, creuser, courber, tordre son sujet, le construire, prendre des chemins de traverse et rentrer dans les d\u00e9dales int\u00e9rieurs.<\/span><\/h5>\n
<\/p><\/blockquote>[\/vc_column][vc_column width=\u00a0\u00bb2\/3″][vc_column_text]<\/p>\n
SUIVRE LA LIGNE<\/span><\/h5>\n
Guillaume RIST est artiste plasticien fran\u00e7ais.<\/strong> Il d\u00e9veloppe une pratique situ\u00e9e \u00e0 l\u2019intersection du design, de la peinture, et de la sculpture murale<\/strong>. Son parcours initial en design industriel \u2014 amorc\u00e9 \u00e0 l\u2019\u00c9cole Maryse \u00c9loy – Beaubourg, puis approfondi \u00e0 l\u2019ESDI (\u00c9cole Sup\u00e9rieure de Design Industriel) \u2014 influence sa recherche plastique. Il a exerc\u00e9 pendant plusieurs ann\u00e9es comme designer graphique et directeur artistique au sein d\u2019agences d\u2019\u00e9dition, avant d\u2019orienter progressivement sa production vers une d\u00e9marche autonome en arts plastiques, engag\u00e9e professionnellement depuis 2020.
Sa pratique repose sur un travail de transformation formelle, o\u00f9 les objets ou figures r\u00e9f\u00e9renc\u00e9s sont soumis \u00e0 un processus de mod\u00e9lisation plastique : remodelage, torsion, courbure, dislocation, recomposition. Cette recherche s\u2019inscrit dans une dynamique de m\u00e9tamorphose, consistant \u00e0 faire \u00e9voluer la forme sans en alt\u00e9rer la charge s\u00e9mantique.
L\u2019artiste explore ainsi un entre-deux visuel :<\/strong> ni figuration stricte, ni abstraction totale, mais un \u00e9tat transitoire o\u00f9 le r\u00e9f\u00e9rent initial subsiste en filigrane.
Influenc\u00e9 par les courants du Pop Art et de l\u2019Op Art, tant dans le traitement graphique que dans l\u2019usage d\u2019une chromie satur\u00e9e et contrast\u00e9e, il construit une peinture o\u00f9 les effets de surface (lignes, motifs, aplats, rythmes visuels) produisent des tensions internes qui sollicitent l\u2019\u0153il du spectateur. Les compositions, souvent narratives, sont habit\u00e9es par un silence, des mises en sc\u00e8ne \u00e9nigmatiques, o\u00f9 coexistent \u00e9l\u00e9ments r\u00e9els et oniriques.<\/p>\nMODELING, une recherche sur la plasticit\u00e9<\/span><\/h5>\n
Son travail s\u2019inscrit dans une d\u00e9marche de d\u00e9construction\/reconstruction formelle.<\/strong> Le processus commence par un travail de dessin pr\u00e9paratoire visant \u00e0 d\u00e9finir les contours, les zones de tension et les lignes de force de la forme d\u2019origine. \u00c0 partir de l\u00e0, l\u2019artiste engage un processus de distorsion, de fragmentation ou de reconfiguration volumique.
Graphiquement, cette transformation se traduit par l\u2019emploi de lignes courbes, d\u2019alternances de motifs lin\u00e9aires (rayures, vagues, ar\u00eates) et de contrastes chromatiques vifs, dans une logique proche d\u2019effet cin\u00e9tique . L\u2019agencement de ces \u00e9l\u00e9ments produit une dynamique interne, une chor\u00e9graphie dans le tableau. La couleur, pens\u00e9e comme vecteur de mouvement, renforce cette sensation de basculement entre figuration et abstraction.<\/p>\nOn retrouve son travail dans 4 th\u00e9matiques principales :<\/strong>
\u2022\u00a0 Les Reliefs Naturels<\/strong>, s\u00e9rie de sculptures murales en bois peint, explorant la relation entre g\u00e9om\u00e9trie organique et mati\u00e8re.<\/em>
\u2022\u00a0 Humans<\/strong>, \u00e9tude des figures humaines, souvent fragment\u00e9es ou recompos\u00e9es.<\/em>
\u2022\u00a0 Natures vivantes,<\/strong> revisiter le th\u00e8me de la nature morte, trait\u00e9e sous un angle symbolique et narratif.<\/em>
\u2022\u00a0 Les Classiques<\/strong>, r\u00e9interpr\u00e9tations d\u2019\u0153uvres iconiques de l\u2019histoire de l\u2019art, selon une grille plastique propre \u00e0 l\u2019artiste (d\u00e9construction graphique, recoloration, distorsion).<\/em><\/p>\nTECHNIQUES<\/span><\/h5>\n
Son travail<\/strong> porte \u00e0 la fois sur la peinture en deux dimensions<\/strong> sur toile, et sur la peinture en volume<\/strong> au travers ses sculptures murales. \u00ab Les Reliefs<\/strong> naturels<\/strong>\u00bb regroupe une s\u00e9rie de sculptures murales associant peinture et sculpture avec une attention sur le travail de la mati\u00e8re,\u00a0 jouant le r\u00f4le de liant entre ses deux m\u00e9diums.<\/p>\n
Il utilise l\u2019acrylique sur toile, ainsi que le collage, et le bois pour ses sculptures. Un autre support vient compl\u00e9ter son travail : la peinture num\u00e9rique. Avec la technique des estampes num\u00e9riques et les dessins r\u00e9alis\u00e9s sur palette graphique, il exp\u00e9rimente un rendu contemporain qui joue en particulier sur les superpositions de traits et d\u2019aplat couleurs.<\/p>\n
C\u2019est d\u2019abord une recherche formelle<\/strong> qui commence par le dessin : d\u00e9finir les contours, les pleins et les vides et trouver des lignes de force, choisir une palette de couleurs. Puis un report du dessin sur la toile et le d\u00e9but de la peinture.
Pour les sculptures<\/strong> : avant la peinture, c\u2019est une phase de d\u00e9coupe et assemblage en bois et papier avec en trame de fond un dessin pr\u00e9paratoire.<\/p>\nConclusion<\/span><\/h4>\n
Sa pratique s\u2019inscrit dans une r\u00e9flexion \u00e9largie sur la forme en mutation,<\/strong> o\u00f9 le dessin sert de matrice \u00e0 une exploration multi-supports : toile, volume, impression num\u00e9rique. \u00c0 travers cette approche technique rigoureuse, nourrie d\u2019un h\u00e9ritage graphique, il propose un langage plastique personnel, oscillant entre figuration transform\u00e9e et abstraction contr\u00f4l\u00e9e.<\/p>\n
[\/vc_column_text]
<\/div><\/div>[\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][\/vc_column][vc_column width=\u00a0\u00bb2\/3″][vc_column_text]<\/p>\nFOLLOW THE LINE<\/span><\/h5>\n
Guillaume RIST is a French visual artist. He develops a practice located at the intersection of design, painting, and mural sculpture.<\/strong> Her initial career in industrial design, initiated at the Maryse \u00c9loy – Beaubourg School, then deepened at the ESDI (Ecole Sup\u00e9rieure de Design Industriel), influences her plastic research. He worked for several years as a graphic designer and artistic director within publishing agencies, before gradually orienting his production towards an autonomous approach in visual arts, professionally committed since 2020.
His practice is based on a work of formal transformation, where the referenced objects or figures are subjected to a plastic modeling process: remodeling, torsion, curvature, dislocation, recomposition. This research is part of a dynamic of metamorphosis, consisting in making the form evolve without altering its semantic charge.
The artist thus explores a visual in-between: neither strict figuration nor total abstraction, but a transitional state where the initial referent remains in the background.
Influenced by the currents of Pop Art and Op Art, both in the graphic treatment and in the use of saturated and contrasted chromia, he constructs a painting where surface effects (lines, patterns, flat, visual rhythms) produce internal tensions that call upon the viewer\u2019s eye. The compositions, often narrative, are inhabited by a silence, enigmatic staging, where real and dreamlike elements coexist.<\/p>\nMODELING, a research on plasticity<\/span><\/h5>\n
His work is part of a process of deconstruction\/formal reconstruction.<\/strong> The process begins with preparatory drawing work aimed at defining the contours, tension areas and lines of force of the original shape. From there, the artist engages in a process of distortion, fragmentation or volumetric reconfiguration.
Graphically, this transformation results in the use of curved lines, alternating linear patterns (stripes, waves, edges) and vivid chromatic contrasts, in a logic close to kinetic effect. The arrangement of these elements produces an internal dynamic, a choreography in the painting. Color, thought as a vector of movement, reinforces this feeling of tipping between figuration and abstraction.<\/p>\nWe find his work in 4 main themes:<\/strong>
\u2022 The Natural Reliefs,<\/strong> a series of wall sculptures in painted wood, exploring the relationship between organic geometry and matter.
\u2022 Humans,<\/strong> study of human figures, often fragmented or recomposed.
\u2022 Living natures,<\/strong> revisiting the theme of still life, treated from a symbolic and narrative angle.
\u2022 The Classics,<\/strong> reinterpretations of iconic works from art history, according to a plastic grid specific to the artist (graphic deconstruction, recoloration, distortion).<\/p>\nTECHNIQUES<\/span><\/h5>\n
His work focuses both on two-dimensional painting on canvas, and on volume painting through his wall sculptures.<\/strong> \u00ab\u00a0Les Reliefs naturels\u00a0\u00bb brings together a series of wall sculptures combining painting and sculpture with an attention on the work of matter, playing the role of binder between its two mediums.<\/p>\n
He uses acrylic on canvas, as well as collage, and wood for his sculptures. Another medium completes his work: digital painting. With the technique of digital prints and drawings made on a graphic palette, he experiments with a contemporary rendering that plays in particular on the superposition of lines and flat colors.<\/p>\n
It is first of all a formal research that begins with the drawing: define the contours, the full and the empty and find lines of force, choose a palette of colors. Then a report of the drawing on the canvas and the beginning of the painting.
For the sculptures: before painting, it is a phase of cutting and assembling in wood and paper with a preparatory drawing as background.<\/p>\nConclusion<\/span><\/h4>\n
His practice is part of a broader reflection on the changing form,<\/strong> where drawing serves as a matrix for a multi-media exploration: canvas, volume, digital printing. Through this rigorous technical approach, nourished by a graphic heritage, he proposes a personal plastic language, oscillating between transformed figuration and controlled abstraction.<\/p>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row][\/vc_row][vc_column][\/vc_column][vc_column_text][\/vc_column_text]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] \u00c0 PROPOS<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages\/2009"}],"collection":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2009"}],"version-history":[{"count":57,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages\/2009\/revisions"}],"predecessor-version":[{"id":11263,"href":"https:\/\/guillaumerist.com\/index.php?rest_route=\/wp\/v2\/pages\/2009\/revisions\/11263"}],"wp:attachment":[{"href":"https:\/\/guillaumerist.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2009"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}