View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
Size: 40 W x 60 H x 1 D in
Ships in a Crate
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Artist featured in a collection
Showed at the The Other Art Fair
Plaines & Mines, d'Ombré 2 is part of my most recent and current ongoing series. I created it using a convergence of techniques including airbrush on wood. This series explores the assimilation of gestural aerosol painting with exacting stencilling techniques on wood. The multilayering process is painstakingly meticulous and laborious, all done by hand. I enjoy the challenge of orchestrating complexity and solving visual problems created upon juggling improvisation and control. The language in this body of work emphasizes gradients as intermediary zones of morphing colours. The ethereal effect is punctuated by an architectural and dynamic stencilled composition. This structural element is barely perceivable in some areas of the painting...only if up close and personal can the viewer see everything. This obscuration used in my practice does not fully translate to "online" viewing. The painting is truly discoverable only when one sees it face-to-face. Thereby, justifying why painting to me is still relevant to make as it offers novelty in this digital day and age: It is not a mere two-dimensional image but rather a complex object which demands physical viewing to be appreciated in all its depth and materiality. This piece has natural wood edges and comes ready to hang, signed at the back.
Painting:Airbrush on Wood
Size:40 W x 60 H x 1 D in
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Artist's studio in Canada.
Born 1977, Canada In Melisa Taylor’s work, the natural world acts as a blueprint while ideas are sourced from historical art and contemporary culture. She pursued studies in Marine Biology before training in the classical art of the Old Masters. She grew fascinated by the works of Flemish painters Vermeer and Rembrandt whose symbolic use of light influences her practice up to this day. Melisa explores the notion of the sublime through blur and precision. She develops an aesthetic of duality by hybridizing divergent approaches to art. Her studio practice is labor-intensive; commercial and electric tools are used to inject unpredictability into the painting gesture. She has assimilated to her visual language an eclectic multilayering process combining pyrography, sanding and detailed stencil compositions on wood. Embracing chance is a central idea in her work, equally so is meticulous control. This results in a subterranean tension that jeopardizes the ethereal appearance of her pieces; arbitrariness and mechanical execution fuse to create what she calls "systèmes faillibles" where spectral motifs seek to emerge out of obscuring lattices. Melisa's recent production has been shown internationally at art fairs in Tokyo, Seoul, Istanbul, Texas, NYC, Singapore, Los Angeles, Melbourne, Miami, Houston and Shanghai to name a few. Her work has been exhibited and acquired in private and corporate collections across North America, Europe and Asia.
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