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Painting, Acrylic on Plastic
Size: 29 W x 19 H x 3 D in
Ships in a Box
51 Views
0
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Artist featured in a collection
ABOUT THE ARTWORK
Skinnydipping © 2014 Media: acrylic on layered plexiglas panles in LED lightbox 19 x 29 inches (48 x 73 cm) [22" x 33" framed] with text painted on an interior panel. I find that poetry which works well in a visual artwork doesn't always read as well printed on the page, and vice versa. It's like the difference between song lyrics and poetry; words that have seemed so sublime in a favorite song may look rather shabby when found printed on a page… with a few exceptions, of course. So I find that it's often best not to separately provide the text of one of my poetry pieces, because I don't want you to get the wrong impression. This is a painting on several layers of plexiglas backed by a lightbox that is subtle, not stronger than the frontlighting. It is a view looking up through a pool of rippling water at green treetops encircling the blue sky above. On the layer behind the front layer of the painting there is translucent text that is just opaque enough to be legible if you're standing up close.
Original Created:
2014
Subjects:
Materials:
Mediums:
DETAILS AND DIMENSIONS
Painting:
Acrylic on Plastic
Original:
One-of-a-kind Artwork
Size:
29 W x 19 H x 3 D in
Frame:
Other
Ready to Hang:
Not applicable
Packaging:
Ships in a Box
SHIPPING AND RETURNS
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 States.
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Jeff Carpenter
United States
Carpenter was born in 1953 in Greenville, Delaware, U.S.A. He studied with the painter Tom Bostelle near home and then went to the Rhode Island School of Design, where he earned a BFA in Film, in 1976. His work has been shown at the Museum of Contemporary Art, Denver, P.S.1, New York, and the Centre Pompidou, Paris. Carpenter's painting style is a cross between old master techniques and expressionism. He makes marks with flicks of a fully-loaded palette knife, but to a precise rendering of hue and tone in a representational image. The image is built up in countless layers of oil glazes, much as Vermeer worked, only in thick impasto. Peeking through the layers are often the transparent traces of a map or poetry. This idea is borrowed from pentimento, the inherent feature of oil paint that, as it dries, it becomes more transparent, revealing what's underneath.
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