VIEW IN MY ROOM
United States
Drawing, Graphite on Paper
Size: 9 W x 12 H x 0.1 D in
Ships in a Box
Year: 2009 Title: DRAWING (NO TITLE) Micro Polycarbonate Graphite On Bristol 260 G/M Vellum Archival Paper. 9" Horizontal X 12" Vertical (22.86 Cm X 30.43 Cm) © Cane Dojcilovic Unframed. Included - Archival mat 16" x 19", centered rectangle opening, * Inside dimensions 8.1/2 inches x 11.1/2 inches, * Outside dimensions 16 inches x 19 inches) - Acid free foam board 1/8" x 16"x19" - front and back (backing) - Archival clear bag 16 inches x 20 inches (humidity protection)
Drawing:Graphite on Paper
Original:One-of-a-kind Artwork
Size:9 W x 12 H x 0.1 D in
Frame:Not Framed
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 States.
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United States
Born in Sabac, Serbia. Lives and works in New York City, United States. YouTube: "Cane Dojcilovic - Drawing and Visual Memory" http://www.canedojcilovic.portfoliobox.net/paintings http://www.canedojcilovic.portfoliobox.net/drawings. FRAGMENT FROM THE NOTEBOOK (3) “Process“ - Inspiration/Motivation (Internal/ External/ Technical) "...Inspiration is a human face or a body, but subject matter is inconsequential, it could be anything. Initial stage of the painting or drawing is calculated, calm and simple, with a clear subject matter. Fragmentation and chaos follows, sometimes only to lead right back to the calculated and calm beginning which would be, inevitably, fragmented again. Different “poetics” are developing in the process, intentionally or unintentionally dependent to the painting process itself. Few hours of painting today could take any direction tomorrow, either to more fragmentation and complication or to clearing and simplification of the fragmentation painted yesterday. Extremes of opposites, symbiosis of sharp and soft, stillness and motion, bright and dark and a range of different temperature grays in between are originating and becoming visible. All those opposites can find the balance only in the process of painting and they cannot be devised, formulated or arranged in advance. In that process, separate rhythms, “plays” and fragmentations of the forms, lights, shadows and structures are developing and starting to evolve and deviate to different directions, somehow becoming independent from the initial “subject” matter. It seems to me that there is never end to that process and in it I find the joy of painting that prevents me from declaring a painting “finished”. That is why my paintings are only in different stages, depending on where and when I decided to stop painting them. I am aware that rational decision must be made sooner or later: when to stop? But my paintings are never “finished"…"
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