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Do you have a Light consumed in passing Installation

Andrew Robinson

United States

Installation, LED on Wood

Size: 36 W x 48 H x 7 D in

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122 Views
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About The Artwork

https://youtu.be/l2GNXt6NxQQ http://cargocollective.com/andrewluirobinson/Do-you-have-a-Light-consumed-in-passing Cavernous; a hanging series of four multimedia paintings on panel in installation with titles in sequence as a poem. The heaviest painting may weigh up to 40 pounds, the lightest 15 pounds. Two pieces will need access to electricity. Each will be 36in wide by 48in high varying in depths from 3-6in. Do you have a Light consumed in passing assumed in cannibal reflections an I for an eye if only we could remain so blind and full of feeling A poem composed of sculptural paintings in a series informed by Plato’s Cave, the biblical story of Adam and Eve, and Baudelaire’s The Man and the Sea to be critical of predisposition to patterns in perception and their obstruction of spacial and emotional experience. This is poetically morphed from a criticism of a traditional light/dark, good/bad duality in that such prejudice leaves a viewer blind to other beauties and values. This series is my first time incorporating lights as sculpture into paintings, which then prompted the use of glass and the attention to actual (not illusionistic) shadow and light. Those oriented toward lighter images are textually aggressive and forward while those that are darker are softer and more receding. Each piece expresses its image differently as environmental lighting and atmosphere may change.

Details & Dimensions

Installation:LED on Wood

Original:One-of-a-kind Artwork

Size:36 W x 48 H x 7 D in

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

I consider myself to be a sculptural painter. My work uses an array of techniques in creating an image-object including collage, burning, painting, and drawing. The purpose of which is to discuss abstract issues of identity by visually recreating a similar conflict and sense of vulnerability. These concepts are manifested in the works' graphic composition and fine textures as they converse both harmonically and discordantly within the same vessel. Visually, some shapes may read closer but physically fall back. Each piece struggles to be viewed as an image and/or a sculpture and strains the laws of perspective. This reflects the schism between the physical, describable self and the metaphysical. Drawing inspiration from artists such as Cai Guo Xian, Lui-Shou Kwan, and Anselm Kiefer I continue to explore new media and techniques. Each piece is very process driven. I will start with a sketch or simply an idea and as I work with it, a conversation forms eventually precipitating a final image usually far from the original prospect. I am not only communicating through my art but with it. 'Mistakes' are simply part of the discussion with the piece as it forms. In "Condition I" I began with a heavy layer of paint that I partially spray painted. After letting the paint drip and dry, I had a new image and texture I had not planned on. The colors and division of the space were chosen in reaction to this partially Chance directed means of mark-making. After adding the center orange rectangle (its complimentary color and its symmetry meant to evoke a sense of power), I added a textured border to balance the physical weight without changing the compositional weight. It isn't until an artwork reaches a point of resonance to my image of and emotion about the piece that I consider it complete.

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