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This was created using a special process of painting with the unseen. In this case the unseen is the invisible forces of magnetism. The artist works from the unseen side of the painting - the back - gesturing the magnet, he affects the forces involved, which in turn move the iron on the surface of the canvas to create marks. The result is a drawing, the record of unseen motions of invisible forces blocked behind the canvas.  

The canvas is then vacuumed leaving ghostly trails of marks. Again, a process of the unseen is at play. The vacuum embodies the void, a place without of matter, a place unseen, as it sucks up the iron (matter) form the surface. After the matter is gone the record of the matter's motion is left on the surface. 

This speaks of how we affect the unseen to affect the physical. Our thoughts, motions, and actions travel through space to connect and affect their sympathetic targets. 

The canvas also reveals what is not seen through rips and tears. Holes open up the front of the canvas to the back of the canvas showing what is on the inside, in this case color. The color also glows out from the sides to reflect onto the wall surrounding the canvas. The aura of color and holes reveal, connect and give clues to more of what is unseen, the backside of the painting. 

Near the bottom edge the canvas breaks the dimension of the two dimensional flat plane by bending up into three dimensional space. This bridge of dimensions reveals what one cannot see in only one dimension. The viewer can now see the front and back of the canvas at the same time.
This was created using a special process of painting with the unseen. In this case the unseen is the invisible forces of magnetism. The artist works from the unseen side of the painting - the back - gesturing the magnet, he affects the forces involved, which in turn move the iron on the surface of the canvas to create marks. The result is a drawing, the record of unseen motions of invisible forces blocked behind the canvas.  

The canvas is then vacuumed leaving ghostly trails of marks. Again, a process of the unseen is at play. The vacuum embodies the void, a place without of matter, a place unseen, as it sucks up the iron (matter) form the surface. After the matter is gone the record of the matter's motion is left on the surface. 

This speaks of how we affect the unseen to affect the physical. Our thoughts, motions, and actions travel through space to connect and affect their sympathetic targets. 

The canvas also reveals what is not seen through rips and tears. Holes open up the front of the canvas to the back of the canvas showing what is on the inside, in this case color. The color also glows out from the sides to reflect onto the wall surrounding the canvas. The aura of color and holes reveal, connect and give clues to more of what is unseen, the backside of the painting. 

Near the bottom edge the canvas breaks the dimension of the two dimensional flat plane by bending up into three dimensional space. This bridge of dimensions reveals what one cannot see in only one dimension. The viewer can now see the front and back of the canvas at the same time.
This was created using a special process of painting with the unseen. In this case the unseen is the invisible forces of magnetism. The artist works from the unseen side of the painting - the back - gesturing the magnet, he affects the forces involved, which in turn move the iron on the surface of the canvas to create marks. The result is a drawing, the record of unseen motions of invisible forces blocked behind the canvas.  

The canvas is then vacuumed leaving ghostly trails of marks. Again, a process of the unseen is at play. The vacuum embodies the void, a place without of matter, a place unseen, as it sucks up the iron (matter) form the surface. After the matter is gone the record of the matter's motion is left on the surface. 

This speaks of how we affect the unseen to affect the physical. Our thoughts, motions, and actions travel through space to connect and affect their sympathetic targets. 

The canvas also reveals what is not seen through rips and tears. Holes open up the front of the canvas to the back of the canvas showing what is on the inside, in this case color. The color also glows out from the sides to reflect onto the wall surrounding the canvas. The aura of color and holes reveal, connect and give clues to more of what is unseen, the backside of the painting. 

Near the bottom edge the canvas breaks the dimension of the two dimensional flat plane by bending up into three dimensional space. This bridge of dimensions reveals what one cannot see in only one dimension. The viewer can now see the front and back of the canvas at the same time.
This was created using a special process of painting with the unseen. In this case the unseen is the invisible forces of magnetism. The artist works from the unseen side of the painting - the back - gesturing the magnet, he affects the forces involved, which in turn move the iron on the surface of the canvas to create marks. The result is a drawing, the record of unseen motions of invisible forces blocked behind the canvas.  

The canvas is then vacuumed leaving ghostly trails of marks. Again, a process of the unseen is at play. The vacuum embodies the void, a place without of matter, a place unseen, as it sucks up the iron (matter) form the surface. After the matter is gone the record of the matter's motion is left on the surface. 

This speaks of how we affect the unseen to affect the physical. Our thoughts, motions, and actions travel through space to connect and affect their sympathetic targets. 

The canvas also reveals what is not seen through rips and tears. Holes open up the front of the canvas to the back of the canvas showing what is on the inside, in this case color. The color also glows out from the sides to reflect onto the wall surrounding the canvas. The aura of color and holes reveal, connect and give clues to more of what is unseen, the backside of the painting. 

Near the bottom edge the canvas breaks the dimension of the two dimensional flat plane by bending up into three dimensional space. This bridge of dimensions reveals what one cannot see in only one dimension. The viewer can now see the front and back of the canvas at the same time.
This was created using a special process of painting with the unseen. In this case the unseen is the invisible forces of magnetism. The artist works from the unseen side of the painting - the back - gesturing the magnet, he affects the forces involved, which in turn move the iron on the surface of the canvas to create marks. The result is a drawing, the record of unseen motions of invisible forces blocked behind the canvas.  

The canvas is then vacuumed leaving ghostly trails of marks. Again, a process of the unseen is at play. The vacuum embodies the void, a place without of matter, a place unseen, as it sucks up the iron (matter) form the surface. After the matter is gone the record of the matter's motion is left on the surface. 

This speaks of how we affect the unseen to affect the physical. Our thoughts, motions, and actions travel through space to connect and affect their sympathetic targets. 

The canvas also reveals what is not seen through rips and tears. Holes open up the front of the canvas to the back of the canvas showing what is on the inside, in this case color. The color also glows out from the sides to reflect onto the wall surrounding the canvas. The aura of color and holes reveal, connect and give clues to more of what is unseen, the backside of the painting. 

Near the bottom edge the canvas breaks the dimension of the two dimensional flat plane by bending up into three dimensional space. This bridge of dimensions reveals what one cannot see in only one dimension. The viewer can now see the front and back of the canvas at the same time.
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Continuum of Magnetic Seep Painting

Michael Nauert

United States

Painting, Iron on Canvas

Size: 114 W x 65 H x 6 D in

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About The Artwork

This was created using a special process of painting with the unseen. In this case the unseen is the invisible forces of magnetism. The artist works from the unseen side of the painting - the back - gesturing the magnet, he affects the forces involved, which in turn move the iron on the surface of the canvas to create marks. The result is a drawing, the record of unseen motions of invisible forces blocked behind the canvas. The canvas is then vacuumed leaving ghostly trails of marks. Again, a process of the unseen is at play. The vacuum embodies the void, a place without of matter, a place unseen, as it sucks up the iron (matter) form the surface. After the matter is gone the record of the matter's motion is left on the surface. This speaks of how we affect the unseen to affect the physical. Our thoughts, motions, and actions travel through space to connect and affect their sympathetic targets. The canvas also reveals what is not seen through rips and tears. Holes open up the front of the canvas to the back of the canvas showing what is on the inside, in this case color. The color also glows out from the sides to reflect onto the wall surrounding the canvas. The aura of color and holes reveal, connect and give clues to more of what is unseen, the backside of the painting. Near the bottom edge the canvas breaks the dimension of the two dimensional flat plane by bending up into three dimensional space. This bridge of dimensions reveals what one cannot see in only one dimension. The viewer can now see the front and back of the canvas at the same time.

Details & Dimensions

Painting:Iron on Canvas

Original:One-of-a-kind Artwork

Size:114 W x 65 H x 6 D in

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Statement Slipping in and out of the familiar through abstract mark making, I draw parallels between nature and human nature within my paintings. My shapes coalesce into landscape and figure, eventually dissipating into abstract impressions. This limbo state creates a vortex for multiple forms, ideas, and shared memory. I do not plan my paintings because I sense them noetically. I discern the works passively as deja vu like memories. When visual ideas reveal themselves, they are not used as representations but as communication. What happens on the canvas never matches what I imagine. Discovering and manifesting a painting feels like I’m blind and being led by a river — I can discern the river in so many ways, but I can’t see the river. I intuitively perceive the painting the whole time, but I only see the painting once it’s complete. Bio Michael Nauert, born and working in Southern California, creates abstract oil paintings based on nature, resonance, and mind-space. Awarded with scholarships and grants to study at The School of the Art Institute, he received a BFA in 2017. He also studied at OxBow School of Art in 2015 and 2017. In 2014 Nauert was included in a group show at the Royal Academy of Arts in London, and was a finalist for Murakami’s Kaikai Kiki co. show in Japan. In 2016 he was featured in New American Paintings (Issue 125). Then in 2018 he had his showed with Young Space for his first time in New York. Last year Nauert was published in the 2019 summer edition of Art Maze Magazine, and was interviewed for Friend of the Artist Magazine and Floorr Magazine. Additionally, he showed at Torrence Art Museum in Run Straight Through where he focused on nature-space and painting as a figure. Currently he is focused on the integration of art within cycles of nature. He is designing and constructing an outdoor studio space as well as traveling in his mobile art studio into nature to create this work.

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