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DD031513 Drawing

Daniel DeLuna

United States

Drawing, Digital on Paper

Size: 8.5 W x 11 H x 0.1 D in

Ships in a Crate

SOLD
Originally listed for $140

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ABOUT THE ARTWORK

This series of works is created by sending a sheet of tracing vellum numerous times through a standard, office grade, black and white laser printer. The process invites various mistakes that are integral to the final work. There are mis-registered images, smudges, and the vellum sometimes even gets jammed inside of the printer. The resulting surface is surprisingly delicate and beautiful, ranging from a deep matte to satin black. I often think of Ad Reinhardt when making these works, they may initially seem nihilistic in their stark blackness, but are actually quite seductive, just like Reinhardt’s black paintings. I like the idea of creating these “prints” using office technology employed in millions of offices worldwide which also enables me to make this work easily financially accessible to anyone.

DETAILS AND DIMENSIONS
Drawing:

Digital on Paper

Original:

One-of-a-kind Artwork

Size:

8.5 W x 11 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

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

Bio: Rochester, NY based artist Daniel DeLuna has exhibited his painting, drawing and digital work internationally. Starting as a painter, his work has been greatly extended and influenced by his engagement with digital media at the same time retaining the connection to the initial practice in those traditional mediums. Working with an abstract visual language, he creates richly evocative work influenced by art history, music, and design. He holds an MFA from Pratt Institute in Brooklyn, NY. and is currently Associate Professor in the School of Design at the Rochester Institute of Technology. Statement My work consisting of paintings, drawings, digital video and stills, engages with the language of abstraction. Superimposed intervals of horizontal or vertical lines generate a rhythmic structure with accents and beats that become the field for the foreground elements that often hold, or become surrogates for, figural associations. The work takes a nod at the history of traditional abstraction as filtered through and informed by the pervasive influence of technology on contemporary culture. Digital tools are used extensively in the creation of the work as I employ both common software as well as highly specialized high-end 3d animation applications. The gestural impulses, including erasures, as contrasted against the geometric, reflect my deeply ambivalent relationship with technology. I am searching for how to create meaningful aesthetic experiences in a culture where the visual is increasing debased by the image glut caused by our interaction with the digital realm. Themes from art history that frequently organize style and approach in into broad categories defined by binary oppositions, such as the romantic versus the classical, are important, as I attempt to synthesize these seemingly contradictory ideas. I want the works to be emotionally resonant, they do not make up a singular emotional statement but instead have a connection to the flows, forces, textures, rhythms and complex relationships we experience in everyday life.

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