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People soon forget they’re already dead [triptych] [centre panel] [Limited edition artwork] Artwork

Jakob Zaaiman

United Kingdom

Mixed Media, Photo on Paper

Size: 59.1 W x 40.6 H x 0.1 D in

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$30,360

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
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Buy an edition from , and install in your art museum. See the whole thing at Saatchiart. This is an impenetrable sequence, despite the presence of what might be mistaken for a simple narrative pattern. It’s a realm of sorts, conjured up by the imagery, but not contained by it. Try to imagine forgett...

Year Created:

2018

Subject:
Medium:

Mixed Media, Photo on Paper

Rarity:

One-of-a-kind Artwork

Size:

59.1 W x 40.6 H x 0.1 D in

Ready to Hang:

Not Applicable

Frame:

Black

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United Kingdom.

Customs:

Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.

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Born 1955 near Etersheim, North Holland. Lives in London and New York. Has also lived in Eastern Europe. Works mainly with photographs, and is interested only in the troubling and disconcerting aspects of life which can be discovered within the ordinary. Each of his artworks is designed to house its own impenetrable narrative; sometimes self-contained; sometimes reaching out to realms beyond itself. ‘Art is a special way to explore strange and disturbing features of life from within a reflective, imaginative, presentational context. Art is more interesting and important than decorative, ornamental craft, which is what most people think proper art is all about. Francis Bacon’s Figure with Meat (1954), for example, is authentic art, whereas da Vinci’s Mona Lisa is merely decorative craft; both share the same presentational medium, yet are worlds apart in their intention. Da Vinci wants you to glory in the realisation and application of his unquestionably sublime technique, whereas Bacon wants you to enter into the mind-distorting world he has discovered. Da Vinci is really only a supreme showman, whereas Bacon is offering you a ticket to god only knows where. I would rather take the ticket.’ Zaaiman does not cite any direct influences, although he feels a great affinity for the sort of mysterious and meaningless photographs often found in obscure textbooks, government publications, religious tracts, strange specialist magazines, and the like.

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