view additional image 1
View in a Room ArtworkView in a Room Background
Expressionist SURFACE ART
Depictions of dream like imagery and manifestations of the imagination that create art that goes beyond the ordinary - that sometimes provokes understanding and sometimes bewilderment. A story telling that can be as puzzling as Stanley Kubrick’s 2001: A Space Odyssey - or as sympathetic as David Bowie's A space Oddity - the art and themes takes us to alternative possibilities. Bingham is constantly searching for new mediums to innovate his ideas of visual expression - whilst developing themes he enjoys. 
In doing so, he moves as far away as possible from previous conventions of art-making - yet retains the basic principal of art being hung on a wall. The need for newness and his unwillingness to reprise the techniques of the past pushes him to constantly question and reinvent the process by which he works.

We know the art has been made out of plaster, yet, the plaster has not been sculptured, cast, rolled or applied by knife - and so you look closer and wonder more deeply about the technique. The tools used are simply a pipette, finger and thumb and palette knife - acrylic ink, either pure or diluted, provide the colour that the plaster absorbs. Apply the pigment sprinkle the plaster - allow for drying - then scrape, seal and repeat the process over and over until the desired effect is reached.   

Swarm No.1 & 2 offers the viewer a deeper insight into the process of making the art. Both were undertaken as prototypes for a series that, to-date, have not materialized - yet, provides a firm grounding in the technique. The end result could be described as a large mass of lively colour buzzing around like insects - which in turn stimulate each other to an even more heightened state of excitement. Your eyes are forever pushed to move - never allowing you much time to rest and consider more carefully what you might feel or think. The colours sing, shout, mumble and scream - unifying to form a highly textured expressionist surface. The concept has a quality that deserves further development, and completion of a complete series as originally intended.  

In contrast, Moonchild - Dreaming in the shadow of Darkness, propels the viewer into a totally unrelated theme of fantasy, space fiction and drama. A small celestial planetary object can only be explained as on the verge of being destroyed or captured by an unknown sinister dark matter - the unnerving tentacles reaching out like some scary creature from an early Hammer Horror film. When you view the art for the first time, and attempt to interpret what you see, you cannot help but reflect that this concept has emerged 
out of some childhood nightmare (the theme is also used in Tormented World). Moonchild is an exceptional piece of work that unquestionably demonstrates perfectly the expressive qualities that can be achieved with the techniques developed with the medium.

Whilst the techniques are similar, Obscured by Clouds (edge of hell) and (edge of heaven) push a more fertile imagination and a surreal theme of spiritual fantasy. Where do our souls reside when our time on earth has ended! Well, we all have our own private thoughts and ideas. However, interpreting these works, it seems we float inside white fluffy clouds and await our judgement. - once our final fate has been decided, our souls are then flung into a ring of rotating space dust rotating around either heaven or hell. The themes explanation is of course very flimsy, and perhaps requires a more devout mind. That said, the art showcases once again the artistic possibilities of the medium.

Ideas and so inspiration for the making of art can come from anywhere and everywhere; from other artists work, from looking and listening, from an internal energy of calmness or aggression. 
I hope you take inspiration from the art and that you also find that inner feeling to create something that is your creative voice. But remember, art can seem ugly, but all overwhelmingly original art looks ugly at first. 

An observation by Jackson Read, July 2015
Swarm #2
1332 Views
24

VIEW IN MY ROOM

Swarm #2 Painting

Anthony Bingham

United Kingdom

Painting, Acrylic on Other

Size: 29.9 W x 43.3 H x 0.8 D in

Ships in a Box

info-circle
SOLD
Originally listed for $505
Primary imagePrimary imagePrimary imagePrimary imagePrimary image Trustpilot Score
1332 Views
24

Artist Recognition

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

Expressionist SURFACE ART Depictions of dream like imagery and manifestations of the imagination that create art that goes beyond the ordinary - that sometimes provokes understanding and sometimes bewilderment. A story telling that can be as puzzling as Stanley Kubrick’s 2001: A Space Odyssey - or as sympathetic as David Bowie's A space Oddity - the art and themes takes us to alternative possibilities. Bingham is constantly searching for new mediums to innovate his ideas of visual expression - whilst developing themes he enjoys. In doing so, he moves as far away as possible from previous conventions of art-making - yet retains the basic principal of art being hung on a wall. The need for newness and his unwillingness to reprise the techniques of the past pushes him to constantly question and reinvent the process by which he works. We know the art has been made out of plaster, yet, the plaster has not been sculptured, cast, rolled or applied by knife - and so you look closer and wonder more deeply about the technique. The tools used are simply a pipette, finger and thumb and palette knife - acrylic ink, either pure or diluted, provide the colour that the plaster absorbs. Apply the pigment sprinkle the plaster - allow for drying - then scrape, seal and repeat the process over and over until the desired effect is reached. Swarm No.1 & 2 offers the viewer a deeper insight into the process of making the art. Both were undertaken as prototypes for a series that, to-date, have not materialized - yet, provides a firm grounding in the technique. The end result could be described as a large mass of lively colour buzzing around like insects - which in turn stimulate each other to an even more heightened state of excitement. Your eyes are forever pushed to move - never allowing you much time to rest and consider more carefully what you might feel or think. The colours sing, shout, mumble and scream - unifying to form a highly textured expressionist surface. The concept has a quality that deserves further development, and completion of a complete series as originally intended. In contrast, Moonchild - Dreaming in the shadow of Darkness, propels the viewer into a totally unrelated theme of fantasy, space fiction and drama. A small celestial planetary object can only be explained as on the verge of being destroyed or captured by an unknown sinister dark matter - the unnerving tentacles reaching out like some scary creature from an early Hammer Horror film. When you view the art for the first time, and attempt to interpret what you see, you cannot help but reflect that this concept has emerged out of some childhood nightmare (the theme is also used in Tormented World). Moonchild is an exceptional piece of work that unquestionably demonstrates perfectly the expressive qualities that can be achieved with the techniques developed with the medium. Whilst the techniques are similar, Obscured by Clouds (edge of hell) and (edge of heaven) push a more fertile imagination and a surreal theme of spiritual fantasy. Where do our souls reside when our time on earth has ended! Well, we all have our own private thoughts and ideas. However, interpreting these works, it seems we float inside white fluffy clouds and await our judgement. - once our final fate has been decided, our souls are then flung into a ring of rotating space dust rotating around either heaven or hell. The themes explanation is of course very flimsy, and perhaps requires a more devout mind. That said, the art showcases once again the artistic possibilities of the medium. Ideas and so inspiration for the making of art can come from anywhere and everywhere; from other artists work, from looking and listening, from an internal energy of calmness or aggression. I hope you take inspiration from the art and that you also find that inner feeling to create something that is your creative voice. But remember, art can seem ugly, but all overwhelmingly original art looks ugly at first. An observation by Jackson Read, July 2015

Details & Dimensions

Painting:Acrylic on Other

Original:One-of-a-kind Artwork

Size:29.9 W x 43.3 H x 0.8 D in

Shipping & Returns

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

The transformation that takes place in the development of making art - in any form - is something that is never fully understood. Even the artists themselves can find it difficult to articulate the process by which they create - and exactly what their motivation and influences have been. Creators can also find it difficult to explain what it is that drives them to do what they do. In the end you have to accept that the artists have a private mind and what you view is just the result of their secret world. Anthony Bingham was born in the small seaside town of New Romney, Kent, and was to receive his only formal training at the Northampton School of Art and Design. In the summer of 1980 he gained his diploma and set out on a career in design and advertising. In the late eighties he became a founding partner in a design company serving a mixture of local, national and international businesses. In late 2000 he had resigned from the business, and thereafter undertook contract work. A few years later he started experimenting with his own unique style of art, as well as, undertaking an art history degree. Interestingly, his early work did not translate into the usual methods of making art with pencils and paper, water-colour or paint on canvas, instead his firsts works were produced on plywood. The surfaces were sealed with a varnish before using a small hand held roller to apply household emulsion as the primer. He would then apply - by means of the roller- acrylic paint until the desired background effect was achieved - over which he would then apply pure acrylic paint with the rubber chisel, building up layers on top of layers until at some point he felt the artwork was complete. All of this was undertaken laid flat on an old ironing board. He then went on to develop what has become known as his industrial canvases. These canvases are constructed out of wooden pasting tables covered in decorating cloth. Pigment and PVA would then be mixed and random shapes and patterns created on the surface by a spoon. Once dried the whole painting would be covered in white emulsion and then acrylic paint, washed with course material and finally sanded. From the beginning, Bingham has instinctively looked for new materials and techniques in order to say something new, and has spent a vast amount of time proving that his vision for the material or technique that could work.

Artist Recognition

Artist featured in a collection

Artist featured by Saatchi Art in a collection

Thousands Of Five-Star Reviews

We deliver world-class customer service to all of our art buyers.

globe

Global Selection

Explore an unparalleled artwork selection by artists from around the world.

Satisfaction Guaranteed

Our 14-day satisfaction guarantee allows you to buy with confidence.

Support An Artist With Every Purchase

We pay our artists more on every sale than other galleries.

Need More Help?

Enjoy Complimentary Art Advisory Contact Customer Support