VIEW IN MY ROOM
United Kingdom
Collage, Paper on Paper
Size: 42 W x 30 H x 2.5 D in
Ships in a Box
This is the seminal work in the Flaming Sheep series and it inspired the sculpture. The story goes like this: Suppose "Joe Smith" is walking along one evening on their way back home from their office job that they hate more than they love life itself and they see the flaming sheep blazing away in the night and the image stabs them in the butt like a flaming poker. Suddenly they are confronted by the naked face of the wall of lies that is our world. When they look at the sheep they can see the freedom it represents, after all, there is some artist guy that has allowed himself to make a flaming sheep! How cool is that? They are gobsmacked by this notion; that we can allow ourselves to be free, to do what we want instead of what we have been told to desire... If there is someone out there that can get away with this, what else might be possible? So, just maybe, they pull out their smart phone and call their boss to tell them to advertise their position and damn the consequences. Maybe they decide to fall in love with the wrong person or split for the tropics. Maybe they do something really dangerous and subversive and starts to make huge abstract painting that offend and delight and inspire someone else to step off the cliff. The question is not IF we need a revolution but rather which flavor we should choose. Here is the Flaming Sheep. Do you buy it?
Original Created:2014
Subjects:Popular culture
Collage:Paper on Paper
Original:One-of-a-kind Artwork
Size:42 W x 30 H x 2.5 D in
Frame:Other
Ready to Hang:Not applicable
Packaging:Ships in a Box
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 Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
I work from a place of playful spontaneity making objects whole formed in a single go based mostly around the circular dialog that exists between the viewer and the viewed. This process is largely unplanned and is as much a mystery to me as anyone. My life and art making are two aspects of a single thing wherein I make a deal with myself: when I feel the urge I drop what I’m doing and go make things. Sometimes this is inconvenient for people around me. I’m okay with that. Because of this oddball set of priorities I find myself making things in unconventional places and often out of normal hours. And, because of my life as art as life thing, I sometimes appear strange to those I’m not well acquainted with: like I might ask a grandmother in a Mexican grocery store in East L.A. if she thinks chrome is more powerful than sadness. Her answer might swerve my boat and then things get interesting: they get funny. Funny is very important to me. If I’m not laughing at stuff then I drop it: life is way too short. Sad things are funny: World War II was an absolute riot and the next one will be even better. I am agnostic about materials and techniques. I am as happy painting with marble or sculpting with oil paint as I am with making a pencil drawing. For me it is the ideas that are interesting: what remains afterword are the ashes of my thinking. They are what is for sale here and elsewhere. For many years my work has explored the social narrative through an easygoing figurative realism, word play and object misinterpretation. More recently, my work, paintings in particular, have set off in a new direction capturing immediate emotional responses to painting through pure color work. I was born in Oakland California and now my partner and I divide our time between Los Angeles, London, Verbier and Provençe.
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