VIEW IN MY ROOM
Fractalish #1 Painting
Australia
Painting, Acrylic on Canvas
Size: 29.9 W x 29.9 H x 1.6 D in
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About The Artwork
This is one of a series of paintings balancing intention with chaos. The painting was created out doors in the rain so the water from nature interacts with the application of the paint. The one operational rule to my style is that one cannot touch the canvas or apply paint directly. I use syringes, leaf blowers, sticks and also flick the paint or drip the paint (similar to the process used by Pollock) I hope the viewer will perceive movement and depth that eschews any real visual centre. The application of the paint becomes a very physical gesture with a certain level of intention but relies a great deal on chance. With this approach, there is an attempt to create many of the patterns of nature, the ones we may see in a nebulae, in the shape of water flowing, in the effects of wind. This work uses very sombre, neutral colours. It does come with a simple frame that can be easily removed if required.
Details & Dimensions
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:29.9 W x 29.9 H x 1.6 D in
Frame:Not Framed
Ready to Hang:Yes
Packaging:Ships in a Box
Shipping & Returns
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:Australia.
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Australia
I am a music composer and artist based in Belgrave Australia. While my main focus has been largely centred around music, I have returned to painting in the last nine years. What started out as an exploration into work strongly influenced by Pollock, has recently broadened into a style I feel is more my own. Essentially I avoid applying paint directly to the canvas. I use the drip method but also syringes, squirt bottles and even leaf blowers. This is very much an attempt to find a balance between chance, chaos and intention. It creates an intuitive journey where one is looking for the happy accident. Some of this philosophy harks back to the music of John Cage and the ambient work of Brian Eno. There is often no vocal point in the work. The eye can't rest on one point. I am interested in trying to replicate the patterns we see in nature, the ones that repeat on every scale from a nubulae in space to oil in a small puddle by the road.
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