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VIEW IN MY ROOM
VIEW IN MY ROOM
Painting, Acrylic on Canvas
Size: 59.1 W x 78.7 H x 1.4 D in
Ships in a Crate
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Artist featured in a collection
This piece is part of a series that associates sky blue cut out papers streaked of whimsical white lines suggesting clouds and actual imprints of tires on the surface. This striking combination is reminder of the human kind impact on our environnement as well as a reference to Barnet Newman's work. P.S: For storage and financial reasons, this work is only matted once sold. The canvas is custom made buy a professional supplier that needs at least a couple week to make and ship it,and then it takes some time to mount the paper properly and professionally onto the canvas. Thank you for your understanding and patience.
Painting:Acrylic on Canvas
Size:59.1 W x 78.7 H x 1.4 D in
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 $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
My work operates with a combinatorial principle, I organize improbable encounters of “motifs", a sort of factory for potential meanings. Like visual haikus where the "sacred" meets the trivial, my series function with a humorous offset strategy. A few rules lead my art practice: -Voluntarily use of "low tech" processes. The act of making is essential for me, as an artist I am in what I make. The choice of carving, of printing, stenciling, do collage (not digitally) meet this desire to have a hands-on approach. To live the tension of shaping the Idea in the matter is a fundamental experience. This attitude is also a “political gesture” that puts me upstream the current fashion of entrepreneur-artists whom delegate the making. -Work In series and set visual formulas. Constraints are opportunities to synthesize, clarify and move towards an assumed simplicity. I exploit the potential of my series until my desire wears off. Variation, combination, recycling are means of this research for clarity and visual efficiency. -Lay out sequences. My creative thinking was formed by sequential arts like comics and cinema as well as by my encounter with museum artworks. It drew to me the need to multiply the image ... My polyptyques continue to explore the range of possibilities for the assembly, the ellipse and the construction of pictorial space. -Choose "archetypal motifs" Rembrandt, angels, King Kong, Chanel No. 5, banana skins, Buddha, 100$ bills, astronauts, etc. The subject-matters is central in my approach but is chosen capriciously. I extract figures from the common culture for their archetypal dimension, for their potential to carry along with them a set of images, meanings that the viewer activate and complete when meeting my work. Actually these subject I pick do not interest me in themselves, but for the way they “sing” and “sound” when combined. Analogical and futile, they collide and "dialogue" in the simultaneity of the image. But as Francis Bacon put it, "If we can say it, why bother to paint it? »
Artist featured by Saatchi Art in a collection
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