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Jap's Eye - No.07 Painting

RK Polak

United Kingdom

Painting, Enamel on Canvas

Size: 61 W x 71 H x 2 D in

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This artwork is not for sale.

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ABOUT THE ARTWORK

‘Jap's Eye - No. 07’ is a humorous and intimate abstract work inspired from a famous quote by Dziga Vertov “I'm an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I'm in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse's mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations. Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world.” The ‘I’m an Eye’ series takes a satirical look at racism and racial stereotypes in the modern world. NOUN Jap's eye (plural Japs' eyes) (Britain, slang, vulgar, offensive) The slit of the penis; the male urethral meatus.

DETAILS AND DIMENSIONS
Painting:

Enamel on Canvas

Original:

One-of-a-kind Artwork

Size:

61 W x 71 H x 2 D in

SHIPPING AND RETURNS
Delivery Time:

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

RK Polak

RK Polak

United Kingdom

Carelessly we throw away our half empty paper coffee cup, leaving a brownish beige film without giving it a second thought. A moment of somewhat purposeful carelessness, or a childish accident that creates another mark on our urban landscape. These little signs of human life create an image of necessary human imperfections, the forgotten clumsiness associated with our daily lives, an image of our disregard for spaces and things that we assume as unimportant, banal, but at once individual and particular. It is in these unnoticed moments that R.K. Polak’s finds ‘objects of beauty’, the leftover shards and stenciled markings created by momentary disorder that represents the actions and remnants of a throwaway culture. These works act as an extension of the artist’s broader practice that borders the threshold of abstraction and minimalism, with reference to the emotional dis-attachment of the Colour Field Paintings of the 50s and 60s. The artist returns to previously worked canvases, painting over and scratching the surface, adding ash, soil, cat litter, coca cola, coffee, wine, toilet paper, everyday dirt, which give the canvas a sculptural element creating opportunity for a new visual language. Imbued with the artist’s action these works touch on an abstract expressionist model and yet are so apparently a narrative of our time. References to High Art become almost comedic as the artist challenges past ideals taking segments of contemporary culture and the everyday ‘rubbish’ we tend to ignore. Often subjecting these canvases to abuse, these works are a result of a performativity whereby the artist challenges the potential for the canvas. Folded, printed, left on the studio floor, sometimes driven over, these canvases acquire more levels of debris adding to the intersecting language of found and created imagery, thus resulting in a visual narrative of the artist’s interaction and confrontation with the potentials of what artistic language might mean when presented in the still image on the canvas. R.K. Polak, artist and musician, born 15/08/1975 in Poland. Lives and works in London, England since 1999.

Artist Recognition
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