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Monolith XX Painting

Ricardo Bitran

Chile

Painting, Watercolor on Paper

Size: 15.8 W x 19.9 H x 0.1 D in

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About The Artwork

Chile's central coast is adorned with natural collections of large rocks. Some are all black and of evident volcanic origin; others are light colored and granitic. Together, they attempt to contain the fury of the Pacific Ocean. Like silent monoliths, the rocks have witnessed human history in these latitudes, from the appearance of the first settlers of Polynesian origin--the so-called native Chileans--, to the arrival of the Spanish conquistadores. This painting has two particular features. First, there is something animal or human to the rocks that appear in the background. I didn't intend them to look this way, at least consciously. But I like the result. Second, convention has it that the elements that appear in the foreground have the strongest contrasts and the more saturated colors. Elements that appear in subsequent planes of the picture progressively get less contrasted and less chromatic. Such a depiction strategy is consistent with a natural phenomenon denoted atmospheric perspective. The opposite occurs here. The rocks in the background are more contrasted and chromatic than the ones in the front. That was a conscious decision I made, and I also liked the result.

Details & Dimensions

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:15.8 W x 19.9 H x 0.1 D in

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

My visual imagery is populated by detailed landscapes, dream-like situations, natural objects, colorful abstractions, unknown characters, and distant relatives. In an attempt to portray the world that surrounds me, my practice can be defined as a personal rendering, through painting and drawing, of people, objects, and landscapes as sensitive entities. Rather than presenting a factual reality, I fabricate illusions to conjure the realms of my imagination. The practice and exercise of drawing and painting as crafts have derived in the creation of broad visual vocabulary that allows me to conquer the models in their uniqueness. The pieces are aesthetically independent and thematically interrelated material forms of memory and projection: painting and drawing are a way of naming and capturing the images that flood my human experience.

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