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3 FPS Painting
Chile
Painting, Oil on Canvas
Size: 31.5 W x 44.1 H x 2 D in
Ships in a Crate
About The Artwork
3 FPS is a triptych made of three different frames selected from a single shot of the movie 2001: A Space Odyssey, directed by Stanley Kubrick. The movement captured by the director is halted and dissected, alluding the first mechanisms that made it possible for us to observe animated images - the beginnings of cinematographic language. The effect obtained is a juxtaposition of motionless movement, between the individual paintings seen 'in pause' and the mental animation generated by seeing the sequence in its entirety. Moreover, the work done in painting alludes to a new temporality: that of manual reproduction time as opposed to mechanical time. As a result, the filmic image represented, which often goes unnoticed in the speed of its consumption, acquires a new value as a work of art. The proposal arises from an interest in investigating cinema through the visual arts, recognizing its particularity as a language that best imitates our reality and the implications that this entails in our current culture. By appropriating different cinematographic works through painting, I try to present the tension that exists between reality and fiction, the protagonist tendencies that surround us and the expectations and memories that these images generate.
Details & Dimensions
Multi-paneled Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:31.5 W x 44.1 H x 2 D in
Number of Panels:2
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
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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