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Alba, möbius Sun extract

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Alba, möbius Sun extract Installation

Jessica Moritz

Israel

Installation, Fractal on Wood

Size: 16.1 W x 21.7 H x 2 D in

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About The Artwork

As a painter you are committed to a few things that appear so obvious that sometimes you forget to question them or just think about them as a subject: light(s) colors space when you compose, start painting, walls are not the only options (canvas), you have to step back, consider the viewer space and decide what kind of interaction you want to create. Painting can also be a selfish gesture of ego representation, but in that case, we wouldn’t have this conversation. so let’s remind basics facts and use of them: the light is composed of different waves of colors that composed the spectrum. colors have different intensity, and integration based on their properties. primary colors are the basis, from there you can have it all. Secondary colors are composed of additions and subtractions. the use of light as a tool in painting or reference is not something new: Caravaggio Matisse Turner De Vinci  Georges de la Tour Dan Flavin Eliasson TeamLAB Stefan Heyne Lindsay Packer Felipe Pantone and many other artists. as I was working on different drawings with impossible geometry, and composing palettes, I realized that I had to blur the lines, open the shapes and use gradients instead of color reaction. I am used to closing my colors into shapes and compose in 1D, 2D, 3D. For Alba, I created a 3D shape composed of 2 parts that move around the shape. color circle around the shape and display one range of the spectrum. in physic or even basic Mathematics, you need to make measurements from one point, another one and create a chart. in Art, most of the time you have a binary relation: facing it. I want to consider the viewer’s space as a study, what do I see from this distance, or in this specific space, how many Lux, how many colors I can perceive, how does it affect you?… as you have to consider that each viewer and each position will give you different results (Facts and Feelings), the possibilities become infinite. It’s not only an impossible circle, but it also becomes an exploration of lights. every angle, every part of it has a different tone according to his position, and reflection of light. I wish to compose more Sculpture or installations that involve interactions challenge this kind of questions and proposals. this work is made or found materials, pigments and acrylic. the piece is hold by a metal hook of 6 cm, metal cable and should be hang at average human heights for upper edge 1,70 (cm) suspense from the ceiling or other safe hook.

Details & Dimensions

Installation:Fractal on Wood

Original:One-of-a-kind Artwork

Size:16.1 W x 21.7 H x 2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

French-Israeli artist, lives and works in Tel Aviv. Graduated from the fine arts of Paris (ENSBA),LVMH young artist award 2006, TAKASAGO prize 2008.  She believes that order in chaos leads to an equilibrium of harmony. Moritz’s corpus of art is an infinite voyage. Her calling never discovers a termination. On a diurnal degree, Moritz is compelled to confront herself personally with the transcendence of light.   Light is an exceptional commodity for her, it's something which she adores and desires but also causes agony to her. Enduring the torment she creates with her art objects a utopian architecture (mindscape) where she unveils an unfeasible geometry. Her objects are portals to a dissimilar sphere where the mind absconded and is confronted with a clear result of a never materializing entity of art. The inevitable consequence is a painted geometry that provides balance and an optical euphony in a very intelligible manner.  Her art is inspired by former Bauhaus artists like Josef Albers. Moritz lives in Tel Aviv, where the traces of this movement are still to be found in the city architecture. Albers inspired Moritz to consider herself profound with the theory of color. Her inquiry led to an inspirational mission to flourish a very own attitude to this optical material.  Moritz believes in a sustainable way of producing her art. In consideration of climate change, she reclaims materials to use the existing. She gathers material on her trips and transforms them during a magical process into a new purpose. She tries to avoid a replacement out of senseless consumerism.  co-written with J. P. Wolters Selected Artist part of New Voices, Saatchi ART 2021 special Edition Catalog Meet 100 Artists Who Are Changing the Conversation.

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