VIEW IN MY ROOM
United Kingdom
Painting, Oil on Canvas
Size: 39.4 W x 27.6 H x 1.6 D in
Ships in a Box
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Artist featured in a collection
A shield of stained glass, "Modern Love" reflects religion as a defensive façade. The image is pulled from that of a window in Southwark Cathedral, where Puck, Nick Bottom and Titania from Shakespeare's "A Midsummer Night's Dream" are wielded together in a cast iron tangle. Shapeshifting, illusory beings and misplaced affections are themes of the allegorical play. In my painting, David Bowie is ensnared in the web, his alter ego from the 1973 album "Aladdin Sane" bleeding into that of Jareth the Goblin King from the 1986 fantasy film, "Labyrinth". This latter reference frames Bowie's image as a demigod, in keeping with the idolatrous imagery of the window. "Modern Love" is also the name of a track from Bowie's 1983 album, "Let's Dance", referencing church. Gem tones and the androgynous Bowie point to an ever increasing acceptance of gradated categories of sexuality and the rainbow as a symbol of gay pride.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:39.4 W x 27.6 H x 1.6 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
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:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Rachel has made work all of her life to translate aspects of experience escaping spoken language. Her painting practice uses analogue and digital processes. She manipulates found imagery by hand and in Photoshop, to produce a foundational composition for painting. The images share a loose conceptual framework in which meaning can shift and emerge. Arbitrary contrasts trigger a process of reconciliation, while content divested of context simultaneously liberates and disorientates. The work is inherently political in its free disengagement with and re-invention of content. Composite images are transferred to canvas and warped within Classical conventions of painting. Thus the work speaks to changing mores of value systems. Rachel is interested in image trajectory and staying power—in memory, hard drives or transmission over the Internet. By re-presenting signs and symbols, she highlights an ambiguity of native origin behind their enduring presence, as recirculated shorthand for fictive and historical narratives. Influences are vast, but important among them are ideas of Jacques Rancière, Heidegger and performance art theorist Peggy Phelan, whose work on negation and the phantom (Female) body also resonates in Rachel’s curatorial practice and work with other artists.
Artist featured by Saatchi Art in a collection
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