VIEW IN MY ROOM
United Kingdom
Painting, Oil on Canvas
Size: 27.6 W x 39.4 H x 1.6 D in
Ships in a Box
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Artist featured in a collection
The title of "Shoot" is an ode to Chris Burden's eponymous 1971 performance piece, in which the artist had a friend fire a bullet into his arm. In the context of the Vietnam War, Burden is quoted in explanation for this action, as "wanting to know what it felt like". For me, his work faces squarely the violence we normalise every day in reconciling war and graphic media imagery. I recycled "Shoot"'s figurative aspect from a poster for Michelangelo Antonioni's 1966 film, "Blow-Up", based on the life of David Bailey in Swinging London. In the movie, a fashion photographer unwittingly captures a murder on film. Thus, the term "shoot" acquires a double meaning. In the theatre of the fashion studio, one can imagine his activation of the camera shutter lifting the model's spirit from her body, as she is instantly reduced to a still publicity image. "Blow-Up" implicates female objectification like Burden's "Shoot" does collective apathy. Both references point to the postmodern concept of "death to the subject". The plume of smoke in the painting is inspired by an aerial photograph of the Buncefield oil depot explosion, which transpired in Hertfordshire, late 2005. Despite the environmental impact of the fire, which sent flames hundreds of feet into the sky and smoke drifting for miles, Buncefield caused zero fatalities, and this is represented by the silver lining on the cloud. "Blow-up" connotes both a static doll and a dynamic chemical reaction.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:27.6 W x 39.4 H x 1.6 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Rachel has made work all of her life to translate aspects of experience escaping spoken language. Her painting practice uses analogue and digital processes. She manipulates found imagery by hand and in Photoshop, to produce a foundational composition for painting. The images share a loose conceptual framework in which meaning can shift and emerge. Arbitrary contrasts trigger a process of reconciliation, while content divested of context simultaneously liberates and disorientates. The work is inherently political in its free disengagement with and re-invention of content. Composite images are transferred to canvas and warped within Classical conventions of painting. Thus the work speaks to changing mores of value systems. Rachel is interested in image trajectory and staying power—in memory, hard drives or transmission over the Internet. By re-presenting signs and symbols, she highlights an ambiguity of native origin behind their enduring presence, as recirculated shorthand for fictive and historical narratives. Influences are vast, but important among them are ideas of Jacques Rancière, Heidegger and performance art theorist Peggy Phelan, whose work on negation and the phantom (Female) body also resonates in Rachel’s curatorial practice and work with other artists.
Artist featured by Saatchi Art in a collection
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