35 Views
3
View In My Room
Drawing, Marker on Tracing Paper
Size: 98 W x 89 H x 0.1 D in
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35 Views
3
This piece is comprised of several separate drawings that are sandwiched together for presentation. These ‘working drawings’ are one step in the process of making the ‘sculpture-paintings’ seen elsewhere in my artwork collections. For a long time, to me they were simply a byproduct of the process resulting in a finished piece. While I was always sort of taken with the drawings themselves and saved them with no subsequent intentions, when a close friend saw one of them and was intrigued to the point of wanting one for herself, I decided to give them a chance on their own. They are the intermediate step between the initial conceptual sketches and the wood working itself which becomes the ‘sculpture-paintings’ and ‘working drawing’ is no misnomer. These things work hard and show it. They are rough, torn, scared, burned from welding sparks. The originals should be framed by a skilled and experienced framer. Contact me at if you’d like to discuss framing options.
2019
Marker on Tracing Paper
One-of-a-kind Artwork
98 W x 89 H x 0.1 D in
Not Framed
No
Ships Rolled in a Tube
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
United States.
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Peter Root has been making art all his life though until recently, this was a parallel passion to his career as an architect and his work in facilities management at private colleges and universities including the University of Southern California, Stanford University and Amherst College. Born in Florida and raised in southern California with periods in Paris, France, he now lives with his wife and dogs in Vermont. His interest in painting and making art and his background in architecture come together in his sculpture paintings. These sculpture paintings are layered, not unlike an architect’s topographic map is layered- discrete segments roughly corresponding to their relative elevation or relief are cut out of plywood, assembled with a variety of structural elements and then the whole is painted. The current body of work is mainly (life size and larger) portraits however he doesn’t see himself strictly as a portraitist. “People are endlessly fascinating to me although for my art, I’m not trying to represent a specific individual so much as depict a gesture or expression to convey both a sense of a real person as well as a casual emotion that many people might connect with in themselves.” On the face of it (no pun intended) this work may not conjure up a connection to cubism but in fact Peter is really attracted to the problem of time and point of view in a static image. “There is no single viewpoint in which the viewer is able to take in the whole work. As one moves around, the impression received is constantly changing.” The canvas paintings are obviously more conventional portraits but in a sense, and with all due respect to the models for whom he has enormous appreciation and respect, Peter sees these works as faster and more spontaneous studies in light, form, scale and color which ultimately feeds back into the sculpture paintings. For more information, to see additional works or place an order for a limited edition, signed reproduction, please visit:
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