VIEW IN MY ROOM
Ireland
Painting, Oil on Canvas
Size: 38 W x 45 H x 2 D in
Ships in a Crate
This painting is built up from materials including pulverised stone and rubble. This process of collecting, handling and binding of site materials (citing the site) onto the canvas provides a material cue to remember. It represents an impulse to archive and make tangible elements of a perceived and now absented place. The painting If the dust settles provides an antidote to the perception that the future is one of untempered technical advances,or that the past can be neatly memoralized. It suggests that the future and the past are messy, unstable and full of uncertainties and that a hankering for the visceral and tangible encounter endures beyond the shiny brave new world of technology and a past defined by monuments. The if in the title is not intended to imply an end point in the future or a fixed time in the present or past. Instead a kinetic, grainy, and unstable picture is presented. There is no horizon line or monument on which to fixate. We apprehend a possible explosion with flying detritus and semi–ruins emanating from a central vortex. It proposes time as a cycle in which the tenacity of nature and change does not allow us to rest our gaze on any single component. Time here is depicted as a continuum, a pendulum rather than an arrow (Tuan 1977)3, a process on which the dust never truly settles.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:38 W x 45 H x 2 D in
Frame:Other
Ready to Hang:Not applicable
Packaging:Ships in a Crate
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:Ireland.
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Ireland
Rebecca Bradley’s practice investigates themes of landscape and memory through painting. By a process of studio and site based research, she explores how our sense of place is not certain but contingent upon what we believe and what we choose to remember. Her paintings reflect on, and evoke our lived and deeply subjective impressions of place. She salvages and embeds materials, such as rubble and sand, from these, often transitional sites, to build up surfaces that punctuate and disrupt the traditional two dimensional picture plane. For Bradley this process is a bid to archive a sense of instability, and alludes to the volatility of these landscapes from ongoing human and ecological interventions. “These are paintings that deserve to be viewed close-up and sidelong, so that we are reminded why it is that people still do and should and need to paint.”; Dr. Sarah Hayden, University of Southampton, excerpt from talk delivered on the occasion of the opening of Provisional View Exhibition, September 2015 “She uses found materials such as foxed paper and faded postcards to make quietly restrained paintings of gentle decay. The results at first seem muted and spare, almost minimal, but also present an absorbing investigation into the transitions between two and three dimensional spaces, using shallow relief, recession and torn, frayed layers.”; Sarah Kelleher, writer and curator, in Paper Visual Art Journal "Outstanding textural paintings based on landscape"; Aidan Dunne, The Irish Times visual art critic
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