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The Sirens Have Been Blaring All Along Painting
Austria
Painting, Spray Paint on Paper
Size: 33.1 W x 23.4 H x 0 D in
Ships in a Tube
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About The Artwork
"And yet we haven't lacked for warnings. The sirens have been blaring all along. Awareness of ecological disasters has been long-standing, active, supported by arguments, documentation, proofs, from the very beginning of what is called the “industrial era” or the “machine age.” We can't say that we didn't know." Bruno Latour: Facing Gaia Most definitions of the human stress the extent to which it is seperated from nature. The removal of man from nature appears as a basic prerequisite of culture, and at the same time establishes a continuing experience of suffering in the world. We cannot answer the call "back to nature" in order to overcome the sense of alienation. We are no closer to nature in the deepest jungle (if we can still find one) or at the highest peak than we are in our living room; perhaps we feel the alienation even more strongly there. The painting "The Sirens Have Been Blaring All Along" is done with gouache, spray paint and acrylics on paper. Distorted, fragmentary but nonetheless beautiful landscapes are combined with found quotes and scraps of words that shook me and should do the same to the viewer. It is part of the series "How to Speak about the Earth", which was started in fall 2020. At its heart is the engagement with the the so called "climate crisis" and Bruno Latour's analysis of the current situation in his book "Facing Gaia".
Details & Dimensions
Painting:Spray Paint on Paper
Original:One-of-a-kind Artwork
Size:33.1 W x 23.4 H x 0 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:Austria.
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Austria
In recent years I have focused on exploring structures such as thickets, embankments or overgrown slopes. Each project consists of a series of works on paper and canvas with a specific inspiration. My paintings build up layer upon layer, and since I'm working on many pieces at the same time, that can take years. New paintings are started unintentionally: some colored areas, patterns, overlays. Compositions are built up by overlapping layers of paint with the help of stencils and historic pattern rollers that I collected for the last twenty years. Over time, the layers entangle and certain atmospheres become perceptible. It is important to me to keep the random, accidental, and inappropriate visible, like spots and graffiti-like fragments, left-overs and stray lines. Words and patterns rely on repetition, like magic spells. In my works, I connect research in fields as mythology, feminism or ecology with individuality, emotion and beauty. Together, these structures evoke ambiguous natural sceneries I am interested in, familiar and alien at the same time. Throughout my career I blended my love of pattern with a deep interest in landscape and plants. This is what informs my work in the studio, in the garden, and as horticultural installations. I am radical in the most original sense of the word radicalis, which means rooted, connected to the earth, with plants at eye level. Here, the radical is a form of earthly attachment. I think of my paintings as growing and evolving, revealing themselves slowly.
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