VIEW IN MY ROOM
Chile
Installation, Oil on Canvas
Size: 24.8 W x 24.8 H x 5.9 D in
Ships in a Crate
Interactive painting installation inspired by the Kinematoscope, one of the early machines designed to show an animation created by a sequence of images viewed in motion. The artwork allows the spectator to turn the handle in order to animate a series of paintings inspired by the movie American Beauty directed by Sam Mendes. The spectator can control the speed and the effect of the animation created at his o her will.
Installation:Oil on Canvas
Original:One-of-a-kind Artwork
Size:24.8 W x 24.8 H x 5.9 D in
Frame:Black
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.
Ships From:Chile.
Customs:Shipments from Chile may experience delays due to country's regulations for exporting valuable artworks.
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b. 25th of May 1992 in Santiago, Chile . Since its first appearances, cinematography has struck the audience with its ability to construct a fictional reality similar to our first-hand experience. The representational, narrative-based mediatic culture in which we build our understanding of the world has conditioned the way in which we experience life. As a result, we exist as isolated protagonists in self-centred narratives where life imitates fiction and vice versa. In order to challenge this perception, I capture single frames from different films and using paint as a medium, I change their context by filtering the image through my own subjectivity. With this, I invite the audience to dialogue about representation vs. experience, about our (perhaps futile) search for a narrative meaning and, finally, about our levels of consciousness in a contemporary world where a degree of detachment to reality could sometimes be beneficial. In my latest body of work, I focused on blurring the boundary between painting and installation, introducing time as a factor in the construction of meaning. In film, as in real life, time orchestrates every experience, measurable from beginning to end. By creating a device which invites the spectator to animate a sequence of painted images in an analogous fashion, I wanted to underline the mechanics of cinematic narrative in order to question our own relationship with its core: time.
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