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Flee captures the compressed anxiety of early pandemic days. I think I shifted to this style during that time because the dreamy, bright stripey landscapes were not reflective of my inner mood and outlook at the time. It felt better to paint something uncertain and a little upsetting.  

From the series:

This painting is part of a small series of works created in the chaos of 2020. I felt very upended by the pandemic- and I know I'm not alone. The works in this series reflect a brooding anxiety of uncertainty I experienced in the early days of quarantine. Distorted figurative elements emerged in the works from this short period, predominately hands, teeth, mouths, and eyes.

I sat on sharing these for quite some time as they do not fit in with my other work. I decided that they exist, nonetheless, and it is my duty as an artist to self-curate and include them in my portfolio as a testament to my personal painting history.

Acrylic on watercolor paper, a 1.5 inch border surrounds the painting for installation purposes.

Signed on the front, signed dated and titled on the back.
Flee captures the compressed anxiety of early pandemic days. I think I shifted to this style during that time because the dreamy, bright stripey landscapes were not reflective of my inner mood and outlook at the time. It felt better to paint something uncertain and a little upsetting.  

From the series:

This painting is part of a small series of works created in the chaos of 2020. I felt very upended by the pandemic- and I know I'm not alone. The works in this series reflect a brooding anxiety of uncertainty I experienced in the early days of quarantine. Distorted figurative elements emerged in the works from this short period, predominately hands, teeth, mouths, and eyes.

I sat on sharing these for quite some time as they do not fit in with my other work. I decided that they exist, nonetheless, and it is my duty as an artist to self-curate and include them in my portfolio as a testament to my personal painting history.

Acrylic on watercolor paper, a 1.5 inch border surrounds the painting for installation purposes.

Signed on the front, signed dated and titled on the back.

79 Views

25

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Flee Painting

Mary Robertson

United States

Painting, Acrylic on Paper

Size: 15 W x 21 H x 0.1 D in

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$455

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79 Views

25

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Flee captures the compressed anxiety of early pandemic days. I think I shifted to this style during that time because the dreamy, bright stripey landscapes were not reflective of my inner mood and outlook at the time. It felt better to paint something uncertain and a little upsetting. From the se...

Year Created:

2020

Subject:
Mediums:

Painting, Acrylic on Paper

Rarity:

One-of-a-kind Artwork

Size:

15 W x 21 H x 0.1 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United States.

Need more information?

Need more information?

I am an abstract painter working in oil, acrylic, and watercolor. I switch between mediums frequently, and I often experiment with a variety of tools. Experimentation and chance have been catalysts toward new bodies of work. My artwork is represented by Unsettled Gallery in Las Cruces, New Mexico. Generally, I have painted in an abstract aerial landscape style, and I tend to favor a bright palette with lots of contrast. My painting process is explorative. I rarely plan a painting. Rather, I begin by making gestural marks. Those skeletal marks influence the direction of the painting, giving the process a beginning. Form is brought to life with the use of color, and I will often give "objects" subtle shadows to convey a sense of depth in my non-objective pieces, hinting at what I like to call "personification of form." A square of color appears to float with a small shadow under it, nearly making it an actual thing, and giving it a personality of sorts. The process of painting involves making these forms relate to each other, becoming a whole painting in the end.

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