VIEW IN MY ROOM
This Is America:Account Suspended Drawing
United States
Drawing, Charcoal on Paper
Size: 24 W x 18 H x 0.1 D in
Ships in a Tube
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Artist featured in a collection
About The Artwork
It was a few days after NYE. Anna Maria and Chaleco Salvavidas went to NYC—to Twitter Plaza. Big digital screens blackened to show You-Know-Who’s page with “ACCOUNT SUSPENDED” and “THE PERSON you ARE SEARCHING FOR DOES NOT EXIST” and “HA HA HA”-- were everywhere; flashing on multiple screens everywhere. And everybody was laughing n dancing n having a great American time—just like before. People were tweeting like, well, like. . . “no tomorrow.” Doing so (tweeting like “no manana for you puto”) because for You Know Who,” there had ceased to be — at least on Twitter—no more tomorrow! Anna Maria was posing sexy for a photographer. On the edges of the plaza a girl with a trailing skirt stared serenely into the distance, oblivious to it all! Next to the photographer an expensively dressed woman was scrolling intensely on her cellphone. She scrolled past Professor Wright’s tweet: BIDEN REALLY SAID: WE NEED A REP PARTY. . . JOE BIDEN is NOT THE PREZ WE NEED AT THIS TIME1 FFI, and pressed the heart button it; she scrolled past the tweet that read: DIGITALLY REMOVE HIM FROM HOME ALONE 2 and she ‘liked’ that one too! She scrolled past the tweet that asked god to please give them strength to keep their tweets “in the draft folder.” Down, down, the woman scrolled until she found her tweet. The one that read: I NEVER UNDERSTOOD RACISM. LIKE HOW YOU MAD I’M BLACK?! She hesitated for a second before hitting ‘like, ’and it felt wonderful (hitting the little red heart, not the hesitation) and so she ‘followed’ them too. It felt wonderful, for her, a white lady to be following a black woman on TWITTER. Absolutely wonderful. Liberating even. Liberating and like a new day! A double mimosa kind of day with so many big and not so big but still beautiful things achieved that day! And yet. . . and yet despite the big and not so big things achieved, nothing was fundamentally changed.
Details & Dimensions
Drawing:Charcoal on Paper
Original:One-of-a-kind Artwork
Size:24 W x 18 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
Baltazar Castillo American b. 1953 My work is a mixed media assemblage of paint and torn paper. I use fashion magazine spreads as both collage and photographic transfer material. As source material, they determine color, content, and pattern. The transfer technique consists of acrylic mediums brushed onto pages and the pages pressed onto the canvas. With images absorbed onto the canvas, the distressed pages, sans images, are carefully peeled and applied to the canvas as collage elements. Sucked of their cultural content, in a washed out state, the distressed source pages, the transferred images merge to form abstract shapes. In the sifting stage that follows these shapes are pummeled back to recognizable landscapes or figurative interiors often using Paper Mache for bulk and mass. I have developed and combined the uses of craft techniques, of paper Mache -with the traditional method of collage to cover the canvas surface in order to create unique supports. Simultaneously I have come to acknowledge the traditional use of collage as a process analogous to that of wallpapering interiors. I use the idea of a covered interior to recreate by relocating images and color from the page to the canvas, to draw and absorb from applied materials rather than to create imagined pictures on a blank canvas. I see my work to be in transition, the transitional stage exists twofold; as a support for my covered interiors and as a papered vestibule for the artist's psyche. At present the idea of the canvas as a transitional support system provides me with ample room for experimental excess and accumulation - covering, ripping, pasting, sanding. I also see my work as transitioning from depicted interiors on canvas to large-scale installations as interiors. Installations as assembled arenas of composed materials, materials that are extracted, combined, expanded upon as both process and subject matter.
www.baltazarcastillo.com www.prettyinamerica.com
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