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Drawing, Ink on Canvas
Size: 63.8 W x 28.7 H x 0.8 D in
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Triptych of 3 streched canvas each 73 x 54 x 2 cm (28,74 x 21,25 x 0,78 in) each with spray paint, ink and marker. * Possibility of acquiring individuallya canvas of the same series. See in the portfolio. With 'Speech Of A Decay' I am painting here the necessity of a necessary change for our future and that of our planet. The recent events due to the health crisis of Covid-19 shows us that we must give respite to our Mother Earth. It may be a deaf cry, like a foreign language for some, but a gold price for our future. *** Je peins ici la nécessité d'un changement nécessaire pour notre avenir et celui de notre planète. Les évènements derniers dû à la crise sanitaire du Covid-19 nous démontre que nous devons laisser du répit à notre Terre mère. Il peut s'agir d'un cri sourd, comme une langue étrangère pour certains, mais d'un prix d'or pour notre avenir.
Multi-paneled Drawing:Ink on Canvas
Size:63.8 W x 28.7 H x 0.8 D in
Number of Panels:2
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
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The work of Marijah Bac Cam questions the Memory of the Living through the Languages of the Feminine Principle (creative principle of Nature) by means of drawing, painting and increasingly photography and video. What does this chaos of fullness and emptiness mean, enhanced with dots, curves, golden wefts and gestural writing? In the artist's painting we perceive a Living being organized before our eyes, starting with the diffusion of black ink. These dark masses mingle with another color to symbolize the different elements, air, water, fire, earth, ether. Suddenly an organic mesh forms on the surface, connected to the misty depth. It is a question of reversal, as if to lead our gaze towards an inner world, that of the organs, tissues, vessels of an unrepresented body. These drawings express more sensibly an intuitive word in a vegetal and vibratory atmosphere that are our buried memories. They are the representation of the original past in a form that is no longer mental but metaphorical. Graffiti sometimes float here and there, like a palimpsest as if to inscribe a forgotten verbal dimension and question the meaning of forms. His work evokes images that are almost figurative but difficult to identify. It's a question of everyone's point of view, seen from the sky or underwater, in macro or even in a wide shot. This collective memory seems to define and tell terrestrial and extra-terrestrial landscapes. Does Nature have a universal language that hides in our memory?
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