




Drawing, Charcoal on Paper
13.8 W x 19.7 H in
Ready to Hang
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ABOUT THE ARTWORK
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The story behind this work is related to a previous work of mine, also a drawing titled: Study for a Dream Machine, featured in an Erin Remington Collection (curator at Saatchi). Both drawings share the use of a so-called automatic or semi-automatic technique of drawing which involves starting from ...
Year Created:
2026
Subject:
Styles:
Mediums:
Drawing, Charcoal on Paper
Rarity:
One-of-a-kind Artwork
Size:
13.8 W x 19.7 H x 0.4 D in
Ready to Hang:
Yes
Frame:
Not Framed
Authenticity:
Certificate is Included
Packaging:
Ships in a Box
Delivery Cost:
Shipping is included in price.
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Returns:
Free returns within 14 days of delivery. Visit our help section for more information.
Handling:
Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:
Switzerland.
Need more information?
Contact us.Need more information?
Contact us.Q & A with Alessandro Neckels (excerpt)
Alice Shay (curator) in conversation with Alessandro Neckels
AS: Where do you find your ideas for your pieces?
AN: In my mind
"¨AS: How much of an influence do you think society has on your work?
AN: Society influences my work because I live in this society, and I want to represent and criticize all the wrong aspects of our "civilization", in this sense my work is a political work. It's a struggle against a predatory and self-destructing society. I try to show what is being done against nature; and with "nature" I mean not only our natural environment but also our bodies and souls, which are also going to be polluted.
"¨AS: How do you think society has influenced your identity?
AN: Society has tried to influence my identity but has not completely succeeded. Again, society in our world is an exploiting system (not defined by ideology, but by its squalid objects), which tends to uniform and flat out all differences between human beings, which are so important in order to be free and intellectually active.
"¨AS: Do you illustrate any dichotomies of identity in your work? If so, how?
AN: My work is a continuous paradox. It's difficult to differentiate between the two sides.
"¨AS: Do you illustrate the influences of society in your work? If so, how?
AN: See above.
"¨AS: Do you believe inspiration occurs consciously, subconsciously, or both? By "¨this I mean, do you think artists are always aware of what influences them?
AN: Inspiration is always in the subconscious.
"¨AS: What is the purpose of art?
AN: Art has no direct purpose, but may help build a better world.
"¨AS: Do art need to communicate to be worthwhile/good?
AN: Art is art, and communications are intrinsic.
"¨AS: What is your opinion of the aesthetic vs. ethical values of art?
AN: Well, as I first heard of this, it was I think in an interview to some "very important" art critic during the last Venice Exposition, I almost threw up. What the hell are you talking about, I thought, art has no boundaries, art is a weapon. If used correctly, art can change the world, but you cannot limit art in such a way, using concepts like ethics and aesthetics. "More ethics, less aesthetics" was the slogan of the moment: I think in the art world there is a lot of very sick people.
Recognition:
Artist featured in a collection

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