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My 'Process' series had been very experimental; I was working it out as I went along, trying out different weathering techniques. Now, that's all fine and dandy but generally I like to have a basic strategy in place. I like to know what I'm trying to achieve, how I'm moving my work on from the previous. I'd enjoyed using the shredder; how it destroyed the image in a very deliberate, graphic way so I decided to concentrate solely on this technique rather than interspersing it with solid panels, as before. In 'Spall', meaning 'fragment', I'm playing around with the idea of destruction. The character faces are almost entirely obliterated and yet they sit within this very neat, rectangular grid. It's not a natural decay anymore, it feels a bit digital. I didn't know it at the time but this would be my last picture to contain any of the character faces which have been such a key element of my work for so long. Looking back, it seems like a bit of an exorcism, a casting-off to allow something new in. This picture comes unframed and in 16 A4-sized pieces that fit together like a jigsaw. I have to admit, I work like this for practical reasons. I don’t have a big studio at the moment so, if I work big, it helps if I can store it away in smaller sections. It also makes it a lot easier, cheaper and safer to ship it to you.
My 'Process' series had been very experimental; I was working it out as I went along, trying out different weathering techniques. Now, that's all fine and dandy but generally I like to have a basic strategy in place. I like to know what I'm trying to achieve, how I'm moving my work on from the previous. I'd enjoyed using the shredder; how it destroyed the image in a very deliberate, graphic way so I decided to concentrate solely on this technique rather than interspersing it with solid panels, as before. In 'Spall', meaning 'fragment', I'm playing around with the idea of destruction. The character faces are almost entirely obliterated and yet they sit within this very neat, rectangular grid. It's not a natural decay anymore, it feels a bit digital. I didn't know it at the time but this would be my last picture to contain any of the character faces which have been such a key element of my work for so long. Looking back, it seems like a bit of an exorcism, a casting-off to allow something new in. This picture comes unframed and in 16 A4-sized pieces that fit together like a jigsaw. I have to admit, I work like this for practical reasons. I don’t have a big studio at the moment so, if I work big, it helps if I can store it away in smaller sections. It also makes it a lot easier, cheaper and safer to ship it to you.
My 'Process' series had been very experimental; I was working it out as I went along, trying out different weathering techniques. Now, that's all fine and dandy but generally I like to have a basic strategy in place. I like to know what I'm trying to achieve, how I'm moving my work on from the previous. I'd enjoyed using the shredder; how it destroyed the image in a very deliberate, graphic way so I decided to concentrate solely on this technique rather than interspersing it with solid panels, as before. In 'Spall', meaning 'fragment', I'm playing around with the idea of destruction. The character faces are almost entirely obliterated and yet they sit within this very neat, rectangular grid. It's not a natural decay anymore, it feels a bit digital. I didn't know it at the time but this would be my last picture to contain any of the character faces which have been such a key element of my work for so long. Looking back, it seems like a bit of an exorcism, a casting-off to allow something new in. This picture comes unframed and in 16 A4-sized pieces that fit together like a jigsaw. I have to admit, I work like this for practical reasons. I don’t have a big studio at the moment so, if I work big, it helps if I can store it away in smaller sections. It also makes it a lot easier, cheaper and safer to ship it to you.
My 'Process' series had been very experimental; I was working it out as I went along, trying out different weathering techniques. Now, that's all fine and dandy but generally I like to have a basic strategy in place. I like to know what I'm trying to achieve, how I'm moving my work on from the previous. I'd enjoyed using the shredder; how it destroyed the image in a very deliberate, graphic way so I decided to concentrate solely on this technique rather than interspersing it with solid panels, as before. In 'Spall', meaning 'fragment', I'm playing around with the idea of destruction. The character faces are almost entirely obliterated and yet they sit within this very neat, rectangular grid. It's not a natural decay anymore, it feels a bit digital. I didn't know it at the time but this would be my last picture to contain any of the character faces which have been such a key element of my work for so long. Looking back, it seems like a bit of an exorcism, a casting-off to allow something new in. This picture comes unframed and in 16 A4-sized pieces that fit together like a jigsaw. I have to admit, I work like this for practical reasons. I don’t have a big studio at the moment so, if I work big, it helps if I can store it away in smaller sections. It also makes it a lot easier, cheaper and safer to ship it to you.

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View In My Room

Spall Collage

Nick Maroussas

United Kingdom

Collage, Paper on Paper

Size: 33.1 W x 46.9 H x 0.1 D in

Ships in a Box

SOLD
Originally listed for $860

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My 'Process' series had been very experimental; I was working it out as I went along, trying out different weathering techniques. Now, that's all fine and dandy but generally I like to have a basic strategy in place. I like to know what I'm trying to achieve, how I'm moving my work on from the previ...

Year Created:

2018

Subject:

Graffiti

Styles:

Abstract

, 

Cubism

, 

Modern

, 

Abstract Expressionism

, 

Street Art

 

Mediums:

Paper

, 

Paint

, 

Acrylic

, 

Spray Paint

, 

Marker

, 

Paper

 

Medium:

Collage, Paper on Paper

Rarity:

One-of-a-kind Artwork

Size:

33.1 W x 46.9 H x 0.1 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United Kingdom.

Customs:

Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.

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Contact us.

Need more information?

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I am a mixed-media artist based in London. My collages explore the boundaries between the man-made and nature, reanimating found materials, shapes and colours, often the by-products of design. New arrangements are constructed by assimilating inherited material and processing with a mechanical mindset. I believe these serendipitous compositions could hold some inherent value which might offer us a fleeting glimpse of our connection with the world.

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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