VIEW IN MY ROOM
Mexico
Painting, Enamel on Canvas
Size: 58.1 W x 35.6 H x 1.5 D in
Ships in a Crate
Artist Recognition
Artist featured in a collection
A lot of rubbing was involved in the making of this painting, thinned down rubbing. Before the vertical line or "zip" as Barnett Newman would describe his vertical lines, such as the one displayed within this painting, a kind of black stain or spot was very visible to the eye, which I didn't like at all; that was the thing that drove me to create the almost 2.5" wide zip across the entire height of the painting. I wasn't thinking or inspired by Newman, it just was a visual glitch that bothered the hell out of me and it had to be eliminated. First I thought of a diagonal line coming from left to right, then I thought of the same diagonal coming from right to left, but neither of them worked. I stared at both of them, separately, for a quite a while, eventually I decided to remove the masking tape from both diagonals: now it was clear to me that vertical was the way to go. My admiration for Barnett Newman is kind of deep, but it came to me until the very end. Suddenly I could see.
Painting:Enamel on Canvas
Original:One-of-a-kind Artwork
Size:58.1 W x 35.6 H x 1.5 D in
Frame:Not Framed
Ready to Hang:Not applicable
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.
Ships From:Mexico.
Customs:Shipments from Mexico may experience delays due to country's regulations for exporting valuable artworks.
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Mexico
I like to keep my studio nice and tidy. I always clean up at the end of each production process. It’s all very much an upbringing thing, a family thing. Cleanliness, economy, order and organization are a big machine of which I’m the catalyst. But the inmediacy of words as a subversive conceptual project parallels my own artistic practice. The accidental attempt of hiding the words beneath the canvas conveys a subtle violence of graffiti-like defacement, rich incidents of dripping, skipping, or distortion that corrupt the reading of the word. The meaning of the word speaks directly to my own experiences but also to a wider audience. Nevertheless, it’s an almost arbitrary choice before it’s applied with spray paint. I begin with a roll of unprimed, raw canvas, the width of which defines the width of the painting, which I then stretch over a wooden stretcher. A wash of powdered pigments mixed with an acrylic polymer is applied to the entire surface of the canvas, in effect dying the pigments into the canvas. This becomes the background of the painting; the canvas continues past the edges of the stretcher bar. The background is then painted with oil paint thinned with turpentine; whole eggs and unbounded pigments are mixed with the diluted oil paint. Dirt is then either thrown or rubbed at the surface, endowing it of a texture and/or color. Dirt is free and everywhere, eggs are cheap and everywhere. They are democratic, an extension of a romanticized reality. I sit sometimes for hours or days, in front of the canvas, considering the next move or contemplating the shape of a particular area. The actual painting, however, is done very rapidly, in the manner of an automatic technique adopted from the surrealists. I discontinued the practice of giving narrative titles to the paintings, they are referred only by number and year.
Artist featured by Saatchi Art in a collection
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