VIEW IN MY ROOM
Thr Grocer's Daughter Drawing
United States
Drawing, Paper on Paper
Size: 24 W x 24 H x 0.5 D in
Ships in a Box
Artist Recognition
Showed at the The Other Art Fair
Artist featured in a collection
About The Artwork
Margaret Thatcher is an iconic figure within the pantheon of British prime ministers. Despite the paucity of intellect the quotation suggests, she was responsible for a wholesale dismantling of the Welfare State and much of Britain's present ills can be laid at the doorstep of the policies she and her ministers implemented. Among these was privatizing almost all of Britain's public utilities. The privatization of government held entities was widely copied throughout the world. Until, that is, such a course of action proved to have severe drawbacks, and, based on experience elsewhere, countries late to the game that intended to privatize quickly went cold on the idea. The basis of the policy is that the state has no business being in business; that businesses run for profit will run such entities much more efficiently than will governments. This has proved, in many, cases, not to be true. There are endless examples. But let's take railways as one. As with many utilities, railways require large quantities of investment in order to maintain and expand on their infrastructure. And long range planning to meaningfully allocate such large sums. For a commercial outfit there is no return on capital of such investments and planing into a distant future is beyond the capability of any commercial concersn. Much of Europe run their railways as governments owned entities and have proved successful at doing so. Privatization of the railways of Britain has arguably been a disaster. As the basis of this and other policies implemented by that prime minister were contingent on the denial that within society there is the concept of a public good. A further example of the devastating effect that such denial can bring is of affordable housing. Commercial builders have no interest in providing such a facilities and, previous to Thatcher, such housing was provided by local authorities. By starving these authorities of cash provided by Westminster, town and city councils ceased to be able to provide their populace with housting within their boundaries which low wage and unwaged families could afford. With the denial of the social, as caught in the quote in the work, Britain became, and remains, a much less tolerant and compassionate country. Capital reigns and money comes first. As a result, the country which first implemented the Welfare State has descended into a state where citizens are expected to fend for themselves through bad times and good. The safety net that cushioned the more egregious aspects of Capitalism no longer exists. And Britain is a much more brutal country as a result. I had in mind to incorporate in the text of the work, "England's Most Famous Prime Minister." but decided this was redundant.. Fine Art Prints The work is printed on high-quality, matte-finish, photobased paper whihch is long-lasting and fade resistant. The work is mounted on superior birch woode block mounting. If desired, framing, is available at buyer's discretion, at cost. Discussions should be conducted with the artist, through Saatchi Art, should this be the case. The work is supplied with a Certificate of Authenticity singed by the artist. Copyright rests with the Artist and reproduction in any form is forbidden.
Details & Dimensions
Drawing:Paper on Paper
Original:One-of-a-kind Artwork
Size:24 W x 24 H x 0.5 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
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
It is possible, though not proven, that abilities of whatever nature, come from our genes, passed on by parents. In my case, my mother. My mother dripped art. Her sister, whom I never met, was a concert pianist though both brothers were engineers as was their father. My mother lived entirely in the arts world and I grew up in Edinburgh surrounded by artists of all nationalities. I remember visiting one, a painter. Long after my mother had left us, my two brothers and I visited an artist friend of hers. He was as poor as were we and he gave us bread slices covered in sugar. My father, an intellectual and self appointed scholar, had chosen not to work; defeated by the breakdown of his marriage. We went overnight from among the very wealthy in the city into genteel poverty since he had lost his job with the Royal Society of Edinburgh as a result of his withdrawal from the outside world. This was a peculiar upbringing. What it meant for me is that I could not do anything but choose a career which guaranteed security of employment and income throughout my life. A natural choice was engineering. I spent my life in this career for which I was quite unsuited and quite alien to me but I was good at it, I am tempted to say, very, very good, unfortunately. Now I have reached a point, with that career behind me, where I can pursue what I love and am good at. Well, better at. All those years, in every waken hour outside of the demands of the intensity which engineering requires, were spent pursing knowledge and practice of arts; art, literature, theatre and music. At college I hung around with the artists. My fellow engineering students seemed alien beings to me. I was fortunate indeed to grow up in Edinburgh and one could not wish for a fuller cultural environment. Since my mother was an artist, I was exposed early to the creation of art, both hers and that of her artist friends. Before coming to this country to join family, I lived in South Africa for a period of years, which has influenced me in ways that are not readily apparent in any of my art works. I think the profundity of influence is due to the particular light that fills the landscapes of that part of the world and the people. There is, too, a deeply felt sense of being connected to the world and to the soil upon which we stand and live. I suspect that the political situation of the time made me aware of power abused to subjugate others and to deny them their freedom.
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Handpicked to show at The Other Art Fair presented by Saatchi Art in New York, London
Artist featured by Saatchi Art in a collection
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