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Disclaimer and inflation made a Transfiguration of the image of a woman in a magazine photo.
The woman's face is redialing with strokes of pencil eraser.
I've rebuilt next to this a new image with the eyes and mouth dislocated, giving the feeling of anger and his face inflation and whose silhouette resembles a simple figure with a doll-animal traits.
Author: William Marquina 
Title: Disclaimer and Inflation 
Technique: pigment black, photo of magazine and foil on glazed paper 
Dimensions: 13 "x 19" x 0.008 "(33 cm x 48 cm x 0.02 cm) 
Year: 2015
Personal Web Page: http://www.marquinawilliam.wix.com/brillo / 
Facebook Page: https://www.facebook.com/brillosiete

Description: The vulnerability of women in his temperament is palpable in an aesthetic structure that integrates a deep sense of Transfiguration. Picasso's work addressed these transfigurations of women to paint portraits of some of his mistresses as is the case with “La Femme Qui Pleure”, 1937 in which Picasso reflects his concept of tears and suffering of Dora Maar; where your face can be seen transfigured by blight and dislocation facial. Disclaimer and inflation made a Transfiguration of the image of a woman in a magazine photo. I've rebuilt next to this a new image with the eyes and mouth dislocated, giving the feeling of anger and his face inflation and whose silhouette resembles a simple figure with a doll-animal traits. The woman's face is redialing with strokes of pencil eraser. This piece has no frame and is signed at the back.
Author: William Marquina 
Title: Disclaimer and Inflation 
Technique: pigment black, photo of magazine and foil on glazed paper 
Dimensions: 13 "x 19" x 0.008 "(33 cm x 48 cm x 0.02 cm) 
Year: 2015
Personal Web Page: http://www.marquinawilliam.wix.com/brillo / 
Facebook Page: https://www.facebook.com/brillosiete

Description: The vulnerability of women in his temperament is palpable in an aesthetic structure that integrates a deep sense of Transfiguration. Picasso's work addressed these transfigurations of women to paint portraits of some of his mistresses as is the case with “La Femme Qui Pleure”, 1937 in which Picasso reflects his concept of tears and suffering of Dora Maar; where your face can be seen transfigured by blight and dislocation facial. Disclaimer and inflation made a Transfiguration of the image of a woman in a magazine photo. I've rebuilt next to this a new image with the eyes and mouth dislocated, giving the feeling of anger and his face inflation and whose silhouette resembles a simple figure with a doll-animal traits. The woman's face is redialing with strokes of pencil eraser. This piece has no frame and is signed at the back.
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Disclaimer and Inflation Drawing

William Rafael Marquina Buitrago

Ecuador

Drawing, Metal on Aluminium

Size: 19 W x 13 H x 1 D in

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About The Artwork

Author: William Marquina Title: Disclaimer and Inflation Technique: pigment black, photo of magazine and foil on glazed paper Dimensions: 13 "x 19" x 0.008 "(33 cm x 48 cm x 0.02 cm) Year: 2015 Personal Web Page: http://www.marquinawilliam.wix.com/brillo / Facebook Page: https://www.facebook.com/brillosiete Description: The vulnerability of women in his temperament is palpable in an aesthetic structure that integrates a deep sense of Transfiguration. Picasso's work addressed these transfigurations of women to paint portraits of some of his mistresses as is the case with “La Femme Qui Pleure”, 1937 in which Picasso reflects his concept of tears and suffering of Dora Maar; where your face can be seen transfigured by blight and dislocation facial. Disclaimer and inflation made a Transfiguration of the image of a woman in a magazine photo. I've rebuilt next to this a new image with the eyes and mouth dislocated, giving the feeling of anger and his face inflation and whose silhouette resembles a simple figure with a doll-animal traits. The woman's face is redialing with strokes of pencil eraser. This piece has no frame and is signed at the back.

Details & Dimensions

Drawing:Metal on Aluminium

Original:One-of-a-kind Artwork

Size:19 W x 13 H x 1 D in

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William Marquina was born in Mérida, Venezuela. Attracted by the works of great masters such as Picasso and Leonardo, at the age of 11 he participated in an outdoor Sunday painting workshop. After graduating in visual arts from the Universidad de Los Andes, he studied a master's degree in philosophy, followed by an unfinished doctorate, and was a short-term visual arts professor at the same university. From now on, William will pursue his passion for art by experimenting with different themes, techniques, styles and media. Disappointed by the unstable situation in his country, he emigrated to the city of Quito in 2019 where he currently lives and produces his works in the Oskan-huera painting studio, cloistered during the pandemic of 2020 and 2021, he will insist on his series Perceptions William's production has been experimentally versatile and challenges us with series characterized by the desire to search, study and complement the archaic and contemporary. His series are notable: Brillo, Picasso Copy, Matisse Copy, Da Vinci Copy and Aperceptions. In the latter, he highlights us in painting, the subjective complexity in the world of perceptions. In 2023 he exhibited his individual retrospective "Imbrications in painting" in the city of Quito; the International Painting exhibition at Casal Català Quito, 2021 and "Exhibition of Ecuadorian Painting" at the Mayor's Office of Quito, 2019. Other important individuals were: "Cartographies of the Terrestrial and Transterranean", Merida 2012; "Care. Path and Limit", 2007 and "Essences", 2007. Awarded the First Prize of Arts for University Students, in 2001.

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