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Painting, Plastic on Plastic
Size: 55.1 W x 82.7 H x 0.1 D in
Ships in a Tube
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* Painting/Sculpture adjustable on plastic canvas 80/100 ; 210H x 140W x 0,3 to 20 cm ( 82,6H'' x 55,11'' x 0 to 7,8''). ** Ships in a tube. *** 'Do Not Trust The Appearance n°1' is part of a new series on the theme of the 'Appearence' on plastic canvas that enable to see both side. It's in the continuity of my body of work that explores of the surface and depth through gesture and lines. What this series tells is that despite the perceived acts there may be a whole other explanation behind it. Like René Magritte "This is not ... a painting." Actions produce consequences that can sometimes be misunderstood. On the surface things may look completely different than the depth suggests. I chose to present this series in the form of sculptural and modular painting, to give free rein to its installation in space. Like a garment one can adjust according to one's mood the position of the work. Against a wall or in the middle of a room. Open flat or folded to give it a funnel shape, to express the time passing and the movement from one floor to another: from the surface toward the depth. Three eyelets at the top allow to suspend the canvas, while two others at the bottom allow the fold and hang with a piece of wood or string. Accessories supplied with the package. It is a reversible work with a shiny front side and a matte back. Touch and texture play a large part in understanding the work. You will feel a smooth appearance and another a little sticky and rough in opposition. It is an organic work that can evolve over time and slowly crumble on the matte side. It can expose itself inside and outside but beware! DO NOT PUT IN CONTACT WITH WATER.
Painting:Plastic on Plastic
Size:55.1 W x 82.7 H x 0.1 D in
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
The work of Marijah Bac Cam questions the Memory of the Living through the Languages of the Feminine Principle (creative principle of Nature) by means of drawing, painting and increasingly photography and video. What does this chaos of fullness and emptiness mean, enhanced with dots, curves, golden wefts and gestural writing? In the artist's painting we perceive a Living being organized before our eyes, starting with the diffusion of black ink. These dark masses mingle with another color to symbolize the different elements, air, water, fire, earth, ether. Suddenly an organic mesh forms on the surface, connected to the misty depth. It is a question of reversal, as if to lead our gaze towards an inner world, that of the organs, tissues, vessels of an unrepresented body. These drawings express more sensibly an intuitive word in a vegetal and vibratory atmosphere that are our buried memories. They are the representation of the original past in a form that is no longer mental but metaphorical. Graffiti sometimes float here and there, like a palimpsest as if to inscribe a forgotten verbal dimension and question the meaning of forms. Her work evokes images that are almost figurative but difficult to identify. It's a question of everyone's point of view, seen from the sky or underwater, in macro or even in a wide shot. This collective memory seems to define and tell terrestrial and extra-terrestrial landscapes. Does Nature have a universal language that hides in our memory?
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