View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
Title: SERNENRAUCH | Color spectrum: black and white, gray, blue | Format: 100 x 120 x 2 cm | Material: Acrylic on canvas and stretcher in mixed technique | large format | Year 2022 | Work number: 991-781/07-22 | Ready to hang | This exhibit is part of my new portfolio from 2022. It is created using my experimental technique, which consists of a combination of spatula work and pasty paint application. The colors used here are largely reduced to the basic colors. Intermediate tones result from the mixture of the different colors. As with all of my exhibits, the creative process begins with priming the canvas. Here, too, my principle applies: the viewer finds true beauty in the detail. In essence, the basic statement is based on my predilection for astronomical phenomena. I try to give a phenomenon a face and to make it imaginable or to interpret it. In the process, landscapes and structures are created almost automatically, which leave a lot of scope for the viewer's imagination. Please also visit my new YouTube channel under the link: https://www.youtube.com/channel/UC8ynbVGM9kh2QN_xUtWyLQQ
Painting:Acrylic on Canvas
Size:47.2 W x 39.4 H x 0.8 D in
Ready to Hang:No
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.
Customs:Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks.
CREATING SOMETHING NEW. No more interpretation or reconstruction of our environment. Action painting or abstract expressionism is abstract painting in its basic form. Contrary to classical- realist painting my work is characterised by an "experimental reality", which we can neither to see, nor describe. Using the methods of construction and destruction, in which coincidence is mixed in, makes it possible for me to create a picture which is not predetermined. Painting becomes an analogy for the uncertain, the unknown and the incomprehensible. Good pictures are incomprehensible. Creating unintelligibility completely excludes producing any old nonsense because any old nonsense is always understandable as such.
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