VIEW IN MY ROOM
I Love Your War Painting
United States
Painting, Acrylic on Wood
Size: 48 W x 24 H x 4 D in
Ships in a Box
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About The Artwork
The second painting in the poem series Yearn, I Love Your War portrays the eternal moment of conflict between the external and the internal identities. These violent delights. It vies to be viewed as both an image and an object (an illusionistic self and an actual). The sculptural collages, although interacting physically in depth, occupy a pattern in which they imitate line. The shallower textures imitate skin. This facilitates the metaphor of the artwork mirroring the body. Let there be empathy. The neutral-esc colors reinforce this mimicry of life not only in relation to flesh, but also to the natural process of oxidation as the ribbed structures resemble rusted metal. The use of the complimentary colors orange and blue within the black strip hint at traditional concepts of painting but are betrayed by carvings. This destroys the flatness thus belief in the image and reveals a depth to the object. This symbiosis of creation and deconstruction is paralleled in the various gestural mark making processes; collage, splattering, carving, and burning. The painting experiences both care and suffering as if it too lives. But there is a mortality to form, a gore of physicality, and similarly as we strive to occupy some sort of eternal abstract moment, the painting’s true identity lies in each unique viewership and not in itself; its individual identity correspondingly more corporeal the more vulnerable and engaged the viewer. And in this maelstrom where creation and creator see reflections of themselves there is an effervescent, sublime beauty. I Love Your War, with a muted screech, seems to insist on existence, on its life, yet ultimately has little control or choice despite such defiance. One cannot help but be reminded of Pinocchio... or Pygmalion. I Love Your War will be featured in Seattle University’s “Search For Meaning” juried exhibition curated by Trung Pham, SJ, February 16-25, 2017. *note that because this piece uses sculptural elements and glosses, its illusionistic image changes with lighting and perspective.
Original Created:2016
Subjects:Abstract
Details & Dimensions
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:48 W x 24 H x 4 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
I consider myself to be a sculptural painter. My work uses an array of techniques in creating an image-object including collage, burning, painting, and drawing. The purpose of which is to discuss abstract issues of identity by visually recreating a similar conflict and sense of vulnerability. These concepts are manifested in the works' graphic composition and fine textures as they converse both harmonically and discordantly within the same vessel. Visually, some shapes may read closer but physically fall back. Each piece struggles to be viewed as an image and/or a sculpture and strains the laws of perspective. This reflects the schism between the physical, describable self and the metaphysical. Drawing inspiration from artists such as Cai Guo Xian, Lui-Shou Kwan, and Anselm Kiefer I continue to explore new media and techniques. Each piece is very process driven. I will start with a sketch or simply an idea and as I work with it, a conversation forms eventually precipitating a final image usually far from the original prospect. I am not only communicating through my art but with it. 'Mistakes' are simply part of the discussion with the piece as it forms. In "Condition I" I began with a heavy layer of paint that I partially spray painted. After letting the paint drip and dry, I had a new image and texture I had not planned on. The colors and division of the space were chosen in reaction to this partially Chance directed means of mark-making. After adding the center orange rectangle (its complimentary color and its symmetry meant to evoke a sense of power), I added a textured border to balance the physical weight without changing the compositional weight. It isn't until an artwork reaches a point of resonance to my image of and emotion about the piece that I consider it complete.
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