78 Views
4
View In My Room
Painting, Oil on Paper
Size: 19.7 W x 27.6 H x 0.2 D in
Ships in a Tube
78 Views
4
Featured in One to Watch
Showed at the The Other Art Fair
Artist featured in a collection
When it comes to ‘art’ (a word I’m increasingly growing to dislike – feel free to ask why), it’s not necessarily about ‘thinking differently’ (which people are often misguided to believe). It’s more about tapping into how you as an individual personally think/feel… Tapping into the authentic version of yourself. It’s always about being you. I generally prefer to feel slightly out of my depth when painting. I personally believe ‘art’ shouldn’t be a place to play it safe. I prefer for it to feel like a fight rather than something peaceful. I dip in and out of ‘portraiture’ and find that my more abstract work inevitably informs my portrait practice and simultaneously/organically pushes it in more challenging directions. It all speaks to each other in one way or another. I guess it’s lineage. They all exist as one body. I don’t enjoy sticking to one approach/discipline and just tend to go wherever the moment wants me to. Each day has its own perspective. I like allowing the moment to decide where the day goes. My consequential ambition as a painter is to be able to make just one or two marks on a canvas (or any surface) and for it to obvious who made it. Which is probably the primary reason as to why I have a slight problem with the ‘requirement’ of signing a work (although I do still currently sign most of my work for the time being). The mark making fulfils that role wholeheartedly, in my opinion – and is the reason I decided, for the first time to-date, to sign this painting with just a fingerprint.
2023
Oil on Paper
One-of-a-kind Artwork
19.7 W x 27.6 H x 0.2 D in
Not Framed
No
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Green paints directly onto raw, unstretched canvas, working instinctively, without preamble or pause for thought. His earliest work was observational and figurative, with a kind of meticulous precision, but, having demonstrated this precocious skill, he felt free to cast-off formal technique and to work in a more expressive way, characterised by loose, vivid unpredictability. The first impression is of gestural vitality and rich painterly effect – bright colours merge into murky smudges; sharp definition blurs into misty formlessness. There are sweeping lines; scribbly detail; indistinct colour washes; paint drips, flows or clumps into crusty accretions. Suggestions of formal structure are quickly subverted. Amidst this abstract maelstrom there are hints of crude calligraphy, figuration and human faces – ambiguous, half-formed, partially erased. “The last decade has been about dissecting the human form in a process that is energetic, spontaneous and organic. I now find it more powerful to capture the essence of a person rather than to render an exact image. The paintings I make today are one-offs that I couldn’t replicate. They are unique to specific moments, authentic to me. I don’t look for or seek inspiration; I live my colourful life and allow that to guide the path for my practice.”
Featured in Saatchi Art's curated series, One To Watch
Handpicked to show at The Other Art Fair presented by Saatchi Art in London, London
Artist featured by Saatchi Art in a collection
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