VIEW IN MY ROOM
United States
Installation, Taxidermy on Canvas
Size: 48 W x 60 H x 5 D in
Ships in a Crate
Artist Recognition
Artist featured in a collection
PLEASE READ ABOUT THE DETAILS OF THIS ONE WORK, WHICH IS COMPOSED OF FOUR INDIVIDUAL STRETCHED CANVASES ON HEAVY DUTY WOOD. NOTE: This complicated wall painting is shipped to the collector in four separate cardboard boxes that measure 36" x 24" x 8" This MULTIPLE-PANEL work consists of FOUR (4) primed canvases on wood stretchers. Please note that THIS WORK SHIPS TO THE BUYER IN FOUR INDIVIDUAL CARDBOARD BOXES, EACH BOX IS A DIFFERENT SIZE AND WEIGHT. Each canvas measures 24 inches wide by 30 inches high. The depths vary as follows: 5 inches deep (lower right canvas); 3.5 Inches deep (lower left canvas), 6 inches deep (upper left canvas); and, 6.5 inches deep (upper right canvas). The buyer may elect to hang the works in one horizontal or vertical line; or, place the works two canvases above two canvases. The overall measurements of this work as pictured here is 60 inches high by 48 inches wide by 6.5 Inches deep. This complicated work took over eight years to complete; it uses natural objects (fox skull, possum skull, deer bones, skate-fish egg casings, rosebush twigs, Spanish moss), sewn onto the canvases. Additional materials include: gold-leaf; modeling paste, gesso, acrylic paint; threads; mother of pearl, and dried pigments. This work relates to a neurological condition I have called RSDS, also known as Reflex Sympathetic Dystrophy Syndrome or simply, Chronic Pain. This was diagnosed over fifteen years ago, but I have had it for fifty years, since childhood. On top of this, my spine is deformed, causing even more pain. Note: No animals were hunted or hurt to obtain the parts for this work. All animal parts were found in nature from Philadelphia, Pennsylvania to Cape May, New Jersey.
Original Created:2007
Subjects:Mortality
Multi-paneled Installation:Taxidermy on Canvas
Original:One-of-a-kind Artwork
Size:48 W x 60 H x 5 D in
Number of Panels:2
Frame:Not Framed
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:United States.
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United States
Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.
Artist featured by Saatchi Art in a collection
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