VIEW IN MY ROOM
Italy
Painting, Acrylic on Canvas
Size: 28 W x 40 H x 1 D in
Ships in a Box
Revelation, critical evaluation by Eliza Yacheva The viewer sees what seems a common topic for the author – an anonymous mannequin representing the human form within a fractured environment and highly abstract geometric composition. This subject matter appears to convey a certain truth for the artist Dominic Cooper. This singular humanoid shape stands for humanity. Two doors can be seen, maybe perhaps windows, in the upper right and bottom right corner. The majority shapes are strictly depicted, contrasting with the three fluid-like draperies looking objects, two of them in yellow and one in white in the center of the artwork. They add a surrealist touch to the overall composition and recalls for Salvador Dali‘s famous trademark – liquid shapes and extensive symbolism. The peculiar matter that can not be seen in Cooper‘s other human forms, is that this white mannequien has separate limbs. It seems as if this ‚freedom‘ is causing not an ease for it, but confusion. Its two legs are twisted, the two arms are crossed each being in opposite direction and traversed in this exact way they reveal a hole, lack of inner peace and emptiness painted in light blue.
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:28 W x 40 H x 1 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:Italy.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
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Born 1960 It is a fact that truth cannot be found in appearance, the genetically adapted eye with its restrictions reveals only the particular. Truth, for me, is more likely to be gleaned within the subject; in the form of intuition. My paintings are therefore intuitive diagrams which I then compose into paintings. The rock tombs of St Patrick's, in Heysham, Lancashire, provided a template for my simplified outlines, which are used not only within the pictorial structure but also as potent symbols of being and its temporal constraints. For me, painting has to be as 'authentic' and 'real' as the expanding universe we find ourselves in.
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