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In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles. Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together. I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.
In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles. Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together. I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.
In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles. Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together. I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.

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View In My Room

The Sitter and the Shade – Limited edition of 1 Drawing

Neringa Dastoor

United Kingdom

Drawing, Ink on Soft (Yarn, Cotton, Fabric)

Size: 29.8 W x 42.3 H x 0.2 D cm

Ships in a Box

$300USD

Shipping included

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles. Back in 1996 in life drawing classes at the Ka...

Year Created:

2015

Subject:

Body

Styles:

Fine Art

, 

Illustration

, 

Surrealism

, 

Modern

, 

Minimalism

 

Mediums:

Ink

, 

Textile

, 

brush

, 

Soft (Yarn, Cotton, Fabric)

 

Mediums:

Drawing, Ink on Soft (Yarn, Cotton, Fabric)

Rarity:

One-of-a-kind Artwork

Size:

29.8 W x 42.3 H x 0.2 D cm

Ready to Hang:

Not Applicable

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:

14-day return policy. 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:

United Kingdom.

Customs:

Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.

Need more information?

Contact us.

Need more information?

Contact us.

Neringa Dastoor (b.1978, Lithuania) is Alumna of the Royal College of Art in London. She moved back to London England after 2 years in Brooklyn, New York and 2 years in Brighton. She makes marks whether with her own made oak hall ink or thread. Materials play a big part embodying more than the eye meets. She is also ma-ma to two young children.

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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