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Painting, Acrylic on Canvas
Size: 27 W x 27 H x 0.6 D in
Ships in a Crate
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ABOUT THE ARTWORK
Il lavoro presentato rientra nella serie di opere dal titolo “Rumori bianchi”, una serie di sperimentazioni estetiche che forniscono un'analisi sulla “poetica-visiva” o “pittura-sonora”, intesa come rapporto tra suono e colore. La prospettiva culturale del progetto è quella di elaborare una profonda ricerca sulle percezioni sensoriali legate al suono, alla luce, al colore; elementi che generano sulla tela equilibri formali in grado di dialogare tra loro attraverso una scandita e rigorosa partizione verticale, che allude a frammenti di ricordi e paesaggi tradotti dall'artista in campiture di colore ed inseriti all'interno della superficie, seguendo una minuziosa procedura analitica.
DETAILS AND DIMENSIONS
Painting:
Acrylic on Canvas
Original:
One-of-a-kind Artwork
Size:
27 W x 27 H x 0.6 D in
Frame:
Not Framed
Ready to Hang:
No
Packaging:
Ships in a Crate
SHIPPING AND RETURNS
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. 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.
Have additional questions?
Please visit our help section or contact us.
Sebastiano Sallemi was born in Sicily in Comiso (RG) on September 22nd, 1988. He works as an artist in Sicily and works as a teacher of Art & Image and Plastic Disciplines. The training course undertaken allowed him to approach and analyze with enthusiasm and interest the artistic forms of the XX and XXI Century. Currently the artist works on the creation of surfaces and structures remarkably linked to the concepts of analytical painting, conducting an analysis of the material components of the painting itself. From the relationship between a work as a physical object and its author, the surfaces and analytical structures of the last cycle recover primary visibility through elementary and sometimes almost regressive signs, where the artist doesn’t insist in a particular vision, but suggests a change.
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