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This is an acrylic painting on panel (1/4" thick Eucaboard mounted to a custom built frame). Panel provides an extremely smooth surface for paint application. The painting is 'wrapped' around the edges of the frame to provide visual interest from all angles. Flat, smooth areas of color are punctuated with thicker lines of paint applied with a palette knife. Gloss varnish is applied to protect the painted surface and edges and to keep the colors as brilliant as when first applied. Hardware for hanging is provided. 

While interested in exploring relationships between the dominantly employed blue and green tones, and the tints and shades of their complements, I am most occupied with expressing emotion through both color and the dramatically choreographed, sweeping gestures of undulating forms that lure the viewer’s eyes around the broad compositions. The large size also contributes to the viewer’s experience: standing in front of work that’s created at their scale, they are enveloped within the paintings, and transformed from observers to participants. 

At the start of each piece, I do not seek to illustrate. No shape or color refers to anything particular. However, I hint at possible interpretations of the imagery through their titles, which often refer to planetary phenomena of weather or motion. All practical decisions in the creation of this work are motivated by the pursuance of balance. While I have adopted unbroken color fields as my chosen visual language, I challenge their inherent flatness with contrasting values that fluctuate toward and recede from the viewer. I emphasize spatial relationships through the rhythmic repetition of swelling shapes that, at times, advance right off the frame’s edge, suggesting a continuance of form beyond what is visible. I seek to imply depth with illusions of transparency. Finally, I lend physical dimension to an otherwise smooth, nondescript surface with impasto lines that both emanate from and envelope the central figure; exploring an oscillation between the revelation of the artist’s hand, and the concealment of it.
This is an acrylic painting on panel (1/4" thick Eucaboard mounted to a custom built frame). Panel provides an extremely smooth surface for paint application. The painting is 'wrapped' around the edges of the frame to provide visual interest from all angles. Flat, smooth areas of color are punctuated with thicker lines of paint applied with a palette knife. Gloss varnish is applied to protect the painted surface and edges and to keep the colors as brilliant as when first applied. Hardware for hanging is provided. 

While interested in exploring relationships between the dominantly employed blue and green tones, and the tints and shades of their complements, I am most occupied with expressing emotion through both color and the dramatically choreographed, sweeping gestures of undulating forms that lure the viewer’s eyes around the broad compositions. The large size also contributes to the viewer’s experience: standing in front of work that’s created at their scale, they are enveloped within the paintings, and transformed from observers to participants. 

At the start of each piece, I do not seek to illustrate. No shape or color refers to anything particular. However, I hint at possible interpretations of the imagery through their titles, which often refer to planetary phenomena of weather or motion. All practical decisions in the creation of this work are motivated by the pursuance of balance. While I have adopted unbroken color fields as my chosen visual language, I challenge their inherent flatness with contrasting values that fluctuate toward and recede from the viewer. I emphasize spatial relationships through the rhythmic repetition of swelling shapes that, at times, advance right off the frame’s edge, suggesting a continuance of form beyond what is visible. I seek to imply depth with illusions of transparency. Finally, I lend physical dimension to an otherwise smooth, nondescript surface with impasto lines that both emanate from and envelope the central figure; exploring an oscillation between the revelation of the artist’s hand, and the concealment of it.

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4

View In My Room

Origin Painting

michelle weddle

United States

Painting, Acrylic on Other

Size: 55 W x 30.5 H x 1.5 D in

Ships in a Crate

SOLD
Originally listed for $2,700

30 Views

4

Artist Recognition
link - Featured in the Catalog

Featured in the Catalog

link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

This is an acrylic painting on panel (1/4" thick Eucaboard mounted to a custom built frame). Panel provides an extremely smooth surface for paint application. The painting is 'wrapped' around the edges of the frame to provide visual interest from all angles. Flat, smooth areas of color are punctuate...

Year Created:

2019

Subject:
Medium:

Painting, Acrylic on Other

Rarity:

One-of-a-kind Artwork

Size:

55 W x 30.5 H x 1.5 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United States.

Need more information?

Need more information?

In 2021, Michelle's work was featured in the inaugural issue of ‘All She Makes,’ a new magazine supporting women in the arts, curated by , and the 14th Edition of 'Friend of the Artist.' Michelle is represented by Dimmitt Contemporary in Houston, Texas. She has several pieces currently hanging at Westward Gallery in Denver, Colorado through April 22. 2022. In 2020, Michelle showed with Mirus Gallery and 40 West Gallery in Denver winning ‘Best in Show,’ and an ‘Artistic Award of Excellence,’ with 40 West. Michelle’s work was featured in the Spring 17 Edition of ArtMaze Magazine, an international publication produced in the UK, and was included in ‘I Like Your Work Podcast’s summer exhibition titled ‘Congruence,’ curated by Bridgette Mayer with Bridgette Mayer Gallery. Michelle’s work was selected for an online show curated by artist Charlie Roberts for GIFC Worldwide, and was included in another online show titled ‘Artwork from Home,’ featuring work by artists from around the world, created during the pandemic, with Art Gym Denver in July. Her work was also selected by Max and Tanner of ‘The Tax Collection,’ for special mention with Create Magazine, online and on social media in September. Three large scale pieces were exhibited in a second 40West Gallery ‘Abstracts’ show at Colorado Mills between September 2020 and February of 2021.

Artist Recognition
Featured in the Catalog

Featured in Saatchi Art's printed catalog, sent to thousands of art collectors

Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in Dallas, Dallas, Dallas

Artist featured in a collection

Artist featured by Saatchi Art in a collection

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