VIEW IN MY ROOM
Oil and acrylic on MDF panel. My work tends to be populated with image fragments affiliated with the fictive and historical rise and fall of empire. The use and abuse of power has surfaced as an expressive emphasis. Imagery harvested from the dystopian worlds offered by sci-fi cinema has been used as an analogy for the world I apprehend in the day-to-day, through broadcast sources. Pan American World Airways, more commonly known as Pan Am, was one of the world's biggest airlines in 1982 when Ridley Scott's Blade Runner was released. It has been claimed that companies which featured in the film's dominating billboard adverts were somehow cursed because many either folded or disappeared after featuring in the film. Nine years after the film's release, Pan Am went bust. This painting layers a transcription of the Airline's logo over the "Death Star" (an iconic sci-fi motif representative of a fallen empire).
Painting:Oil on Wood
Original:One-of-a-kind Artwork
Size:21.6 W x 21.6 H x 2 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Born 1993, Newcastle-under-Lyme. My work tends to be populated with image fragments harvested from the dystopian worlds offered by sci-fi cinema. An on-going interest in digital culture(s), advertising and social media platforms has informed the subject matter I composite as painted layers. I am beginning to associate "lag" with positive attributes like the time to reflect (through painting), in opposition to the more normative, technological shorthand for a deficit in functionality. The imagery explored in my recent work tends to linger with notions of loss, where the presence of technology seems to provide some form of compensation. The pictorial spaces in my paintings have an intimacy informed by cinematography, fleeting moments on-screen have been materialised in oil paint over protracted time. Objects used as narrative signifiers are both depicted and re-experienced as props. The process of materialising these objects and presenting them within the gallery space alters their original narrative significance, giving them a new expressive role to play. By using new technologies to process product-like objects that quote from cinema, literary fiction and art history, these hollow replicas serve as an uncanny presence in tandem with my paintings.
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