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Digital, Ink on Canvas
Size: 49.2 W x 30.7 H x 1.6 D in
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648 Views
10
Artist featured in a collection
De cuando el arte se traslada a los locales de reunión para ser observado desde la serenidad la emoción o la distracción. O cuando no se observa. When art moves to the meeting rooms to be observed from the serenity, emotion or distraction. Or when it is not observed. Renderizado de una maqueta virtual imprimido en tinta sobre lienzo. Obra unica con certificado de autenticidad Rendering of a virtual mockup printed in ink on canvas. Unique work with certificate of authenticity
2020
Ink on Canvas
One-of-a-kind Artwork
49.2 W x 30.7 H x 1.6 D in
Not Framed
Not applicable
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Name: Juan Andrés Aguirre Vila-Coro Date of birth: November 26, 1955 Place of birth: Madrid Current address: Urbanization Caserío de Urgel nº 80, San Ildefonso Telephone and Fax: 921/47 05 65. Juan Aguirre Vila-Coro (Madrid 1955), is an architect and has reconciled this profession with other activities in the field of Plastic Arts, first as a painter with traditional techniques (oil, acrylic and airbrushing) and then dedicated mainly to digital modeling. Digital art still has a way to go to be recognized by all the artistic community first, and by the citizenship afterwards (or the order is to the reverse?). The fact that the digital artist does not hold a brush in his hand yet arouses suspicion and suspicion. "That's not art," some say. The conservatism It has always been associated with the reception of the artistic work. Evil that weighs us, we continue with the mind in the eighteenth century under the dictatorship of the Fine Arts There is a clear agreement between current hyperrealism, as an artistic orientation, and digital art, as technical modeling. The digital solution seems even more subtle to me when the artist has a long background and architectural experience. This is the case of Juan Aguirre, an eloquent example of computational hyperrealism. Critic I would say that the conception of space is one of the most interesting aspects of his artistic universe. Using the technique of «mise en abyme», where the interior extends to infinity. The specular space is presented as a huge gallery (in several paintings, from Café at sunset, 2012, to El cambio de luces, 2018) or as urban landscapes. The most explicit picture for this technique is The disturbing invisible camera, 2018. Art Critic says: "For specular reflections, we must invoke the glass (its favorite material) and the surfaces that can function as a mirror. Glass is also present in showcases and everyday objects such as bottles, glasses etc. Its translucency fascinates the artist who imagines not only huge rooms, but also large transparent sculptures in open decorative spaces. Chromatics seems to be, in its deepest option, a lesson in Piet Mondrian's abstractionism. The artist uses three primaries: blue, red, yellow, and two non-colors: black and white. Mondrian is present with two paintings (fake, of course) in the famous Juan Aguirre gallery (Reflejos pastel con dama, 2018), but also in Sinestesia, 2016, and, more discreetly, in Bufet, 2012, for example.
Artist featured by Saatchi Art in a collection
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