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Redentore Painting

Alan Rogers

Italy

Painting, Acrylic on Paper

Size: 22 W x 30 H x 0.1 D in

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$1,600

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ABOUT THE ARTWORK

...Sooner or Later Falls Apart, writes Paul Simon in 1972. And whilst the song is about the frailty of the human condition, the title is redolent of a broader, universal truth. It’s become a cliché of the news interview to say ‘we live in uncertain times’ but with a deadly pandemic, climate change, terrorism and political instability at the forefront of the news, it’s easier to imagine the complete fall of our existence and the fabric of our society and culture, like other civilisations have fallen in the past. This mini-series features architectural details deconstructed, as if in movement, as if falling apart. The colour combinations are from actual specific places in Venice, unrelated to the imagery. The elements have been connected on a temporal axis, “an ensemble of relations that makes them appear as juxtaposed, set off against one another, implicated by each other—that makes them appear, in short, as a sort of configuration” Foucault (1967). This painting was completed the day after the Redentore festival 2021, which celebrate the end of the plague.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Paper

Original:

One-of-a-kind Artwork

Size:

22 W x 30 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I'm Alan Rogers, a multi-media visual artist born in South Yorkshire (UK), now resident in Sant' Elena, Venice, Italy. My creative practice and career has been varied and in addition to working as an artist, I have also worked in Arts Education, Creative Events Management and as a DJ. These practises intertwine and inform each other. I'm inspired by places where history is writ large upon archtiectural fabric, and the detritus of past civilisations is scattered throughout the present. Places like Venice, Cairo, Jodhpur, Trivandrum... Rather than capturing a ‘moment in time’ some of these paintings represent ‘multiple times’. This is manifest both through the process of building and excavating surfaces and in the subject matter, which reveals actions though time - either man-made and natural. I struggle with the materials, forms and colours that might define a place, until their aesthetic begins to speak back to me. The resulting dialogue defines the style of each piece, each period. The construction of the two-dimensional space, the relationship between illusion and object, has occupied me all my working life as an artist. Norbert Lynton wrote of my work: “A visit to Italy, years ago, taught him the pleasure of facades – I think it is not just that there are such cunningly wrought facades in Italy, but also that the street or piazza surface runs slap up against them often, without the hiatus of a pavement, that gives them an extra vividness. In any case, all Rogers’ images have something architectural about them, standing up before our eyes, whether large or small and announcing themselves as flat objects before we feel the sensations of movement and space worked into them”. ‘Syzygy’ touring exhibition catalogue essay, 1999, ISBN 0 903189 62 3 Whether the images tend towards the abstract or realistic, is the idea of exploring relationships between opposing forces excites me: order and chaos, creation and destruction, present and distant, urgent and aloof, controlled and expressive, rough and smooth...the list is long. Reconciling and balancing them can determine the sucess of the work. Occurring simultaneously and instinctively with the action of layering materials, is the layering of meanings and references. These are then excavated, revealed, sanded, undone. SSome images never entirely resolve.

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