VIEW IN MY ROOM
Poland
Painting, Acrylic on Canvas
Size: 47.2 W x 39.4 H x 0.8 D in
Ships in a Crate
This work depicts bacteria and micro-organisms, and the thematic focus of construction and deconstruction, birth and decline. Some might wonder what connection bacteria has when compared to my other work. Nevertheless, the underlying conceptual elements which exist in this series are more or less the same as those supporting past conceptual subjects. From a purely technical and painterly standpoint, there is little difference between painting piles of rocks, versus masses of micro-organisms. Both use elements of repetition to form a greater whole. However, as for the non-technical side, referring to the image itself; why bacteria? Like the rock piles series which came before, the work consistently deals with sinusoidal patterns which exist in everyday reality, which are the themes of construction turning to deconstruction. These changes are not unlike the process of growth preceding decay. One cycle stimulates the other. Furthermore, there is something visually fascinating about the micro-universe. It is a world that was not allowed to previous generations, in the same way, that images of deep space were held secret until recently. It is an interesting duality, the micro-verse as compared to the universe. Both are alien realities that we can only look at through the assistance of scientific instruments. In addition, the colonies of bacteria that future paintings hope to express, share similar traits to our own human surroundings. There is the lone bacterium, representing man. There is the bacterial colony - society. Then, there are the detrimental, outward effects of bacteria and micro-organisms on the body - humanity’s wars or violence. Just as the previous painting series of rocks served as a symbol for creation or destruction, these microscopic entities are a metaphor for the processes of generation and degeneration. It, therefore, becomes an interesting contrast how something so small, visually simple, and quite possibly beautiful, can also potentially have such a huge impact on all our lives. Lastly, it is slightly fulfilling to clash with public expectations regarding what images are deemed acceptable in a painted composition, and whether art should always represent the beautiful. My intent is to show an alternate and less traditional side to beauty, and conversely depict rather tongue-in-cheek images of the macabre.
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:47.2 W x 39.4 H x 0.8 D in
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:Poland.
Customs:Shipments from Poland may experience delays due to country's regulations for exporting valuable artworks.
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Poland
I am an American painter living abroad in Warsaw, Poland. My work primarily deals with a neutral examination of the concept of change as it pertains to the cycles of construction, deconstruction, and reconstruction. An objective distancing from the process allows one to see that our attitudes toward specific transitions differ according to whether we are outside the situation or within it, and which direction the change is headed. Nature and geography are used to illustrate this, with recurring subjects being, stones, rocks, natural debris, landscapes, and the cosmos. People seek stability in a dynamic universe that is in persistent motion. And while the paintings do not depict a human individual within the work, they do show evidence of human interaction. Many images show man's influence within an environment as an attempt to create sense from nature, chaos, entropy, and even death. As the life cycle of one material ends, new purposes for it may arise and consequently new rebirths. This leaves the viewer free to question what events are taking place and imagine themself within the work as both spectator and participant in the changing forces. Deeper connections are also observed by man's interaction with a continually morphing environment. The land is always changing, and as humans, we are always changing the land. Consequently, the work serves as a playful metaphor for the mutual connection between natural change and a man-made one.
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