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Another painting from my small series from early on in the 2020 lockdown. There's a visceral anxious energy to this piece, contained movement.

This painting is part of a small series of works created in the chaos of 2020. I felt very upended by the pandemic- and I know I'm not alone. The works in this series reflect a brooding anxiety of uncertainty I experienced in the early days of quarantine. Distorted figurative elements emerged in the works from this short period, predominately hands, teeth, mouths, and eyes. Please also see paintings Yodel, Blew my Headphones, Love Bite, and Tall Tales.

I sat on sharing these for quite some time as they do not fit in with my other work. I decided that they exist, nonetheless, and it is my duty as an artist to self-curate and include them in my portfolio as a testament to my personal painting history.

Signed on the front; signed dated and titled on the back. There is a 1.5 inch white unpainted border around the painting for installation purposes.
Another painting from my small series from early on in the 2020 lockdown. There's a visceral anxious energy to this piece, contained movement.

This painting is part of a small series of works created in the chaos of 2020. I felt very upended by the pandemic- and I know I'm not alone. The works in this series reflect a brooding anxiety of uncertainty I experienced in the early days of quarantine. Distorted figurative elements emerged in the works from this short period, predominately hands, teeth, mouths, and eyes. Please also see paintings Yodel, Blew my Headphones, Love Bite, and Tall Tales.

I sat on sharing these for quite some time as they do not fit in with my other work. I decided that they exist, nonetheless, and it is my duty as an artist to self-curate and include them in my portfolio as a testament to my personal painting history.

Signed on the front; signed dated and titled on the back. There is a 1.5 inch white unpainted border around the painting for installation purposes.

74 Views

6

View In My Room

A Bit of a Stretch Painting

Mary Robertson

United States

Painting, Acrylic on Paper

Size: 15 W x 21 H x 0.1 D in

Ships in a Tube

SOLD
Originally listed for $455

74 Views

6

Artist Recognition
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ABOUT THE ARTWORK

Another painting from my small series from early on in the 2020 lockdown. There's a visceral anxious energy to this piece, contained movement. This painting is part of a small series of works created in the chaos of 2020. I felt very upended by the pandemic- and I know I'm not alone. The works in this series reflect a brooding anxiety of uncertainty I experienced in the early days of quarantine. Distorted figurative elements emerged in the works from this short period, predominately hands, teeth, mouths, and eyes. Please also see paintings Yodel, Blew my Headphones, Love Bite, and Tall Tales. I sat on sharing these for quite some time as they do not fit in with my other work. I decided that they exist, nonetheless, and it is my duty as an artist to self-curate and include them in my portfolio as a testament to my personal painting history. Signed on the front; signed dated and titled on the back. There is a 1.5 inch white unpainted border around the painting for installation purposes.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Paper

Original:

One-of-a-kind Artwork

Size:

15 W x 21 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

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

I am an abstract painter working in oil, acrylic, and watercolor. I switch between mediums frequently, and I often experiment with a variety of tools. Experimentation and chance have been catalysts toward new bodies of work. My artwork is represented by Unsettled Gallery in Las Cruces, New Mexico. Generally, I have painted in an abstract aerial landscape style, and I tend to favor a bright palette with lots of contrast. My painting process is explorative. I rarely plan a painting. Rather, I begin by making gestural marks. Those skeletal marks influence the direction of the painting, giving the process a beginning. Form is brought to life with the use of color, and I will often give "objects" subtle shadows to convey a sense of depth in my non-objective pieces, hinting at what I like to call "personification of form." A square of color appears to float with a small shadow under it, nearly making it an actual thing, and giving it a personality of sorts. The process of painting involves making these forms relate to each other, becoming a whole painting in the end.

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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