View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
An original piece from the series “Routes”, oil and pencil on paper, 34 x 34 cm. A thin red line on a map evokes a journey, a trip. Immediately we associate it with the idea of travel and exploration, and we perceive that the points that it touches are the most important of that place, or are linked by a common feature that make them interesting for those who will make the trip. Moreover, the expression "the red thread", signifies a link between different concepts, the passing of the same feature from one element to another. But the red line could also represent, instead of the act of the ride, the vehicle of the motion, the medium through which occurs the transmission of information, a synapse. This could then be no more the drawing of a map, but the attempt to represent the way in which our brain elaborates an idea or an argument, and the various key points along the route could be drawers of our memory and our knowledge, opened and used to process that argument. Summary of features: Artist: Federico Cortese Title: Route number 3 Quantity: 1 Medium & materials: oil and pencil on thick paper Dimensions: 34 x 34 cm (13.4 x 13.4 in) Paper weight: 230 gr/mq Finishing: protective gloss varnish (transparent mastic paint) Location and year created: Turin, Italy - 2012 Certificate of Authenticity: included, with signature of the artist on photograph Edges of the sheet: clean straight cut (not indented) Signed: on the back Surface of the paper: smooth
Painting:oil on Paper
Size:13.4 W x 13.4 H x 0 D in
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:Artist's studio in Italy.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
I’m like a mouse in its box. A little mouse safe in its shelter, that passes his time gnawing the food stored for the winter. But my food are the drawings. I work within my home. My studio is a room of the house in which I live. In this relatively small space are accumulated all the materials and equipment I need to draw and paint, but in a certain sense also the suggestions that inspire my work. Here are the desks and drawing boards, with brushes and paint colors, but also, on the walls or placed in closets, paintings and drawings (I think each finished work is always an inspiration for the next, in somehow). A great source of ideas are books and music, and of course the PC. The graphics programs and virtual modeling programs have become over the years a valuable support, but obviously the richest mine is the internet: a reservoir of images and ideas from which to draw, and in which we often are lost (in addition to photos of my own travels, all stored on the computer). It’s a small microcosm closed in on itself, rather impervious to the outside world (despite a large window with a beautiful view of Turin, almost always I work with the curtains closed). It is a bit as if the suggestions of the real world were allowed to enter here only after being filtered and digested, only after it has been already turned into experience. Exactly like a rat, eating quiet its supplies in its den, waiting for the end of winter. In my artistic research I've always been attracted to all that is sortable, classifiable. Perhaps this attitude stems from a primordial insecurity, and perhaps the illusion of putting order into chaos eases this concern. To start this game is sufficient to identify a subject that lends itself to variations, and the game consists precisely in identifying the rules that form the basis of possible changes. It 'a little like discovering a new language and trying to decipher the syntax, grammar, exceptions. With these assumptions, it is easy to see that the subjects of this research can be the most different and in fact my designs ranging from butterfly collections to herbaria, from ancient bestiaries to manuals of anatomy, maps, human faces, hands, pornography, flags ... They are all languages having their own vocabulary, and my attempt is to isolate it and reinvent it, trying to generate new meanings. Consider for example a road map or a map. They are born with a practical, precise purpose.
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