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DD092713 (Sea Lungs) Painting
United States
Painting, Acrylic on Canvas
Size: 24 W x 48 H x 2 D in
Ships in a Crate
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About The Artwork
DD092713 (Sea Lungs) was inspired by a recent trip to the sea. The choice to make the painting prominently gray references the color of the water and sand just after dusk. The sea was simultaneously calming and peaceful yet mysterious, terrifying and latently dangerous. When I finished the painting I was talking with my wife about it, she found it very calming which really surprised me since I felt it was rather aggressive. I came to think of the blue in the painting as the last vestiges of sunlight scattering within the deep subsequently obliterated as the light was sucked out of the air with the setting of the sun. I often think of the relationship of my work to musical structures, and almost always incorporate digital tools in the production of the work. This cross pollination of disciplines and media interest me yet this engagement leads me to frequently ponder what is most effective and engaging aspect of the specific medium of painting. Music is linear and has spatial depth whereas painting can move in all directions on the surface as well as having depth, its non-linear nature embodying a historicism and sense of memory. Music is hot, if you are in a space where sound is present it comes to you whether you want it or not, painting is cool, you must come to it. The perception of music is real-time, and the experience of painting is slow and evolving. While working on the painting I happened to be listening to the Yellow and Green album by Baroness which has a lot of sea and drowning imagery and the title, Sea Lungs, of the painting comes from one of the songs. I commonly refer to the construction of the imagery in my work as orchestration. The layered elements and gestures do not necessarily all mean the same thing nor are they executed in the same way. Some passages are elegant, some are awkward, some are angry, some are sad, some are happy and so on. This heterogeneity of style and content gives the work an emotional resonance that is certainly biased towards a specific statement yet also contains contradictory visual information, making it, in my opinion, an effective model of our relationship to the world.
Details & Dimensions
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:24 W x 48 H x 2 D in
Frame:Not Framed
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:United States.
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United States
Bio: Rochester, NY based artist Daniel DeLuna has exhibited his painting, drawing and digital work internationally. Starting as a painter, his work has been greatly extended and influenced by his engagement with digital media at the same time retaining the connection to the initial practice in those traditional mediums. Working with an abstract visual language, he creates richly evocative work influenced by art history, music, and design. He holds an MFA from Pratt Institute in Brooklyn, NY. and is currently Associate Professor in the School of Design at the Rochester Institute of Technology. Statement My work consisting of paintings, drawings, digital video and stills, engages with the language of abstraction. Superimposed intervals of horizontal or vertical lines generate a rhythmic structure with accents and beats that become the field for the foreground elements that often hold, or become surrogates for, figural associations. The work takes a nod at the history of traditional abstraction as filtered through and informed by the pervasive influence of technology on contemporary culture. Digital tools are used extensively in the creation of the work as I employ both common software as well as highly specialized high-end 3d animation applications. The gestural impulses, including erasures, as contrasted against the geometric, reflect my deeply ambivalent relationship with technology. I am searching for how to create meaningful aesthetic experiences in a culture where the visual is increasing debased by the image glut caused by our interaction with the digital realm. Themes from art history that frequently organize style and approach in into broad categories defined by binary oppositions, such as the romantic versus the classical, are important, as I attempt to synthesize these seemingly contradictory ideas. I want the works to be emotionally resonant, they do not make up a singular emotional statement but instead have a connection to the flows, forces, textures, rhythms and complex relationships we experience in everyday life.
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