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View in a Room ArtworkView in a Room Background

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12

View In My Room

Should I stay or should I go Painting

Max Beyme

Germany

Painting, Acrylic on Canvas

Size: 78.7 W x 59.1 H x 2 D in

Ships in a Tube

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267 Views

12

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

What looks like a comicesque little House on a hill is in fact a metering station near the river "Oder" in eastern germany. It indicates the hight of the water level in case of a flood. The nearby river burst its banks at several occasions. Especially in the year 1997 when the Oder flood was very dr...

Year Created:

2007

Subject:
Medium:

Multi-paneled Painting, Acrylic on Canvas

Rarity:

One-of-a-kind Artwork

Size:

78.7 W x 59.1 H x 2 D in

Number of Panels:

2

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships Rolled in a Tube

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Germany.

Customs:

Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks.

Need more information?

Need more information?

Since the early 90s I have worked as a painter and freelance journalist for several TV networks in Berlin. My journalistic work plays into my art, where my paintings reflect the narrative strategies of modern media. I scan digital media for forgotten images and stories before reprocessing them in the old fashioned analog medium of painting on canvas. My latest series of paintings (like “Whitewashing” or “Residual light”) is focussed on the vanishing of images and the stories behind them. As a TV-journalist I work in a digital fast forward modus, looking for strong topics and finding the appropriate pictures for the stories behind them. I therefore follow very clear and accepted rules in my visual strategy. As an artist, however, I tend to question this media-approach. I view myself as a “visual archaeologist”. TV-stations, like all mass media, are on the one hand huge visual archives that I can browse to find forgotten images and stories. At the same time the sheer amount of pictures they produce mean, that they are also graveyards. But unlike the archaeologist it is not my ambition to reconstruct an “exact” and “objective” image of the lost and found materials in order to learn something about the past. As a painter I am not interested in pure documentary work. Instead I use those lost and found images as raw material to interpret the story behind the images in my own very subjective way, looking for a valid iconography and “meta-story” that is only in part accessible to description. And unlike the archaeologist, who reveals his findings layer by layer, I cover my pictures with layers in order to “protect” them. Corresponding to this approach, I employ a sort of pointillistic painting technique that relates to my work as a TV-journalist: digital pixels are substituted by analog dots and splashes in order to evoke the beauty of a flat random noise on a disturbed TV-Screen. It’s an image that has almost been forgotten and is perceived as a dysfunction in times of HD and digital broadcasting. These blurred, grubby, mixed-media paintings try to hide more than they reveal. You really have to make an (almost investigative) effort if you want to see the picture and the story behind it. But the closer you get, the less you see.

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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