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I started painting this in the Spring of 1995, before I got kicked out of the Buffalo Arts Studio, where I was a founding member. The then-director's reasoning was that drips from my paintings (such as this one) were flowing under the concrete slabs of the industrial building's fifth floor were somehow ruining some one else's artwork at the other end of the studio - I got the message and left, understandably tired of my finished works being destroyed by supposed art "patrons."

On April 11, 1995 was the first time this piece was "finished." It has hung in my home and studio as a portrait, where I would see it on a daily basis. Sometime afterwards it moved back into my painting "danger-zone", which means it was no longer "finished" and could be re-worked at any moment. But nothing happened, I just looked at it, and it didn't feel quite right.

About 6 years ago when a relationship of mine was falling apart, my fiancee wanted it for her NYC apartment despite my insistence that it wasn't finished. I knew the relationship was, and that was just one more trophy she wanted, like the full-grown plants I drove down only to watch them die in a matter of weeks. 

I had been working on this on and off for the last couple of weeks, and now it is installed in my building's lobby. 

Ships wired ready to hang - jus remember that it is heavier than it looks, due to the accumulation of materials: acrylics, spray paint, urethane, sand, and glass beads.
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Map From A New Reality - XII Painting

Alejandro Gutierrez Perez

United States

Painting, Enamel on Canvas

Size: 48 W x 36 H x 0.8 D in

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$2,200

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About The Artwork

I started painting this in the Spring of 1995, before I got kicked out of the Buffalo Arts Studio, where I was a founding member. The then-director's reasoning was that drips from my paintings (such as this one) were flowing under the concrete slabs of the industrial building's fifth floor were somehow ruining some one else's artwork at the other end of the studio - I got the message and left, understandably tired of my finished works being destroyed by supposed art "patrons." On April 11, 1995 was the first time this piece was "finished." It has hung in my home and studio as a portrait, where I would see it on a daily basis. Sometime afterwards it moved back into my painting "danger-zone", which means it was no longer "finished" and could be re-worked at any moment. But nothing happened, I just looked at it, and it didn't feel quite right. About 6 years ago when a relationship of mine was falling apart, my fiancee wanted it for her NYC apartment despite my insistence that it wasn't finished. I knew the relationship was, and that was just one more trophy she wanted, like the full-grown plants I drove down only to watch them die in a matter of weeks. I had been working on this on and off for the last couple of weeks, and now it is installed in my building's lobby. Ships wired ready to hang - jus remember that it is heavier than it looks, due to the accumulation of materials: acrylics, spray paint, urethane, sand, and glass beads.

Details & Dimensions

Painting:Enamel on Canvas

Original:One-of-a-kind Artwork

Size:48 W x 36 H x 0.8 D in

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

Alejandro’s work celebrates the creative spark, and acknowledges that there is control in the uncontrollable, harnessing evaporation and the peculiar characteristics of the materials employed to fix what words cannot express. Born and raised in Colombia, Alejandro came to the United States at 14, and now resides in Buffalo, NY. His interest in paint started at a very early age, exploring the behavior of the oil cans and paints stored in the car port of the building where he lived. Complaints soon followed, which resulted in his having his first painting studio in the third floor balcony of the apartment building. The isolation of the pandemic has proven fruitful for the artist, who has had a prolific last couple of years. He views the current circumstances as “the universe is giving me an opportunity to catch-up.”. His latest series of works, using household latex on canvas, is an extension of the Luscious series. The biomorphic shapes in the Creatures series reflect the sometimes missing humanity in these troubled times. Recent sales include works from the Victoria, Latex, and Soulstice series of works.

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