VIEW IN MY ROOM
STRINGS ATTACHED VII Painting
Mexico
Painting, Airbrush on Wood
Size: 23.6 W x 35.4 H x 1.6 D in
Ships in a Crate
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About The Artwork
This is a more simple but a strong version from the "string re attached" polygons. The use of black spray paint enhance the volume of polygon and the yellow fluorescent outline balances the aqua/ green color palette I used for the piece. This artwork belongs to the series nodes, which it characterized by the construction of polygons using deconstructed geometric figures and fine lines intercepted among each other. Solo exhibition held in November 2017. "This artwork does not need frame and is ready to hang". GUEST CURATOR CONCLUSIONS ABOUT NODOS SERIES. In Nodes, Jaime Domínguez, paradoxically deploys a hyperdimensional project, through painting, a traditionally two-dimensional medium. The polygons that first show represent the limiting contour, the boundary to another field of color, are also the window, or the shadow, of these hyperdimensional figures, which charge volume from the color, the frames and lines that cross them, announcing a complexity of a greater space. Before the spectator, what starts being a flat space, with an attentive look, begins to unfold many dimensions, projecting various conceptual depths, as well as physical. The monochromatic and flat backgrounds in the paintings, place the observer in an abstract geometric plane, alien to material reality, but full of formal and dimentional possibilities. The paradox also intensifies, while the painting is full of smooth colors and straight lines, in some cases almost technical, and that nevertheless, make up a spatial and formal ambiguity. What would seem almost technical from the side of the eye, is Inaprensible, a detailed look, reveals that the figures and the light, exist only instantaneously, only to give that presence to another stage of the same work. Eventually these figures escape the plane of the painting and become pieces to the interior of the room, where the spatial limitations are compensated, by the movement, but above all for the operations and visual games that are possible, blurring the boundaries between the immediate and the distant. Guillermo Lopez I. D.
Details & Dimensions
Painting:Airbrush on Wood
Original:One-of-a-kind Artwork
Size:23.6 W x 35.4 H x 1.6 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & 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. 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:Mexico.
Customs:Shipments from Mexico may experience delays due to country's regulations for exporting valuable artworks.
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Mexico
My approach to the arts began at the age of six with the study of piano and fine arts. As a teenager I got involved in theater and in that context, I discovered scenography and stage production which ended up shaping the worldview of my “artist self.” I studied architecture and for a short time I worked as a set designer and later I found my passion for cultural management, an area in which I discovered my vocation as an administrator, maker, creator, executor, and organizer, which would ultimately serve as a foundation for structuring my career as artist. After years of resistance I returned to the plastic arts and immersed myself in the study of the popular arts of Mexico as well as the analysis of the uses and customs of various indigenous peoples, focusing my interest on the visual aesthetics of their crafts, clothing, as well as its spiritual worldview and its symbolism at the same time that my passion for modern architecture and industrial, textile, furniture and automotive design gave life to a peculiar way of seeing art. My work is the reflection of all the above, it is the encounter of possibilities, the consequence of my desire to amalgamate concepts and styles that are often antagonistic to each other and of my interest in everything that does not have to be explained but rather felt, it is the encounter of the indigenous with the modern, the ancestral and the present, the abstract imagination with spatial formality, they are the celebration of my own meaning of being myself.
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