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Sfinx Painting

Mic Linder

Sweden

Painting, Acrylic on Canvas

Size: 65 W x 65 H x 0.8 D in

Ships in a Crate

SOLD
Originally listed for $6,880

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ABOUT THE ARTWORK

The reason I prefer referring to cut up poetry instead of collage as influential to the making of these kind of juxtapositions is because I think the process of cutting up sentences and rearranging them - stacking them on top of each other - resemble the process with these paintings. Collage is something I associate mainly with an intentional adding process that ultimately constructs the picture with a great portion of artistic intent in the end result. These compositions on the other hand are full of artistic intent in the beginning: rigid forms, burdened by their own aesthetic logic but then sort of freed, but not quite, in the process of cutting them up and reducing them to their most simple possible form. Formal but silly. Like conducting a chemical experiment and using your shoe as unit of measurement. Like ski glasses with a tail suit.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

65 W x 65 H x 0.8 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Mic Linder (b. 1988) is a painter and sculptor with a background in graffiti. As a teenager he painted comic book style inspired figures in pedestrian underpasses and abandoned places. Deeply interested in figuration, he started exploring ways of breaking up his compositions through the use of collage. The figures and milieus started getting more and more reduced to painterly gestures at this point. These gestures in turn get formalized and solid and translated into blocks and flat surfaces in the series that will later become Linder’s geometric works. In his works form, surface and color act as meaningful elements in an improvised, rhythmical and architectural display. His figurative background acts as a foundation that informs the direction of the abstractions. By deriving principles of composition and harmonious/disharmonious visual proportions from figuration and translating it to abstract scales Linder creates a feeling that one is looking at something familiar. This state of ”almost-recognition” makes his work oscillate between the silly and the monumental, between playful and serious, between the physical and the metaphysical. It ́s the painterly equivalent of having something on the tip of one’s tongue and if one were just able to make a little more of an effort... one would find the answer. It’s the known but not quite remembered.

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