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The Concept of Oddness (Detail 1)
The Concept of Oddness (Detail 2)
The Concept of Oddness (Detail 3)
The Concept of Oddness (Detail 4)
Concept of Oddness (Studio shot showing scale)

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The Concept of Oddness Painting

Paul Foster

United Kingdom

Painting, Oil on Canvas

Size: 52 W x 72 H x 2 D in

Ships in a Crate

$10,560

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68 Views

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
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Inspired by Richter's notion of the 'photographic ready-made' this is a photorealist painting in black and white oil on canvas around 6ft by 4ft. I carefully select source imagery from non-art sources. In this case the whole page from a 1960’s animal behaviour textbook, with the caption ‘The Concept...

Year Created:

1995

Subject:
Medium:

Painting, Oil on Canvas

Rarity:

One-of-a-kind Artwork

Size:

52 W x 72 H x 2 D in

Ready to Hang:

No

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

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 in a wooden crate for additional protection of heavy or oversized artworks. 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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Need more information?

"After completing an Art Foundation course at the West Surrey College of Art and Design, Paul Foster born 9.8.68, went on to Oxford University to read Philosophy and Psychology. Foster's paintings are stunning in scale and execution, typically six by four feet, they re-represent in classical oil, photographic images drawn from two non-art sources. First (and earlier to his work) the family album - biographical products of the Box Brownie and Instamatic and second (and more currently) scientific textbooks and instructional manuals from the biological and behavioural sciences - products for educational purpose. In both cases, he not only elevates their non-art status to the realm of the aesthetic, but he also creates a unique dialogue between painting and photography. Foster carefully selects his source photographs. All expose the heavy-handedness of photographic use and the optical limitations of the camera itself. Foster makes no effort to conceal the photograph's under/over exposure, movement blur, camera shake, flash white-out or red eye in his painting of them. Indeed, he delights in their technical shortcomings by magnifying them in oil onto his huge canvases. In doing so, he exposes the camera's fraudulent claims to objectivity and returns the photographs to the human realm, behind the camera, behind the eye. Foster is as fascinated by the historical evolution of photographic techniques, as he is about the use to which photography has been put over time. His subjects cover the informal snap-shot recording of family moments and the serial, didactic recording of developments within science. The source photographs are taken as complete entities, bound in time and frame, but Foster finds freedom as a painter in his rediscovery of them and celebrates their photo-temporal finitude by rendering them to the canvas in extravagant oils. Endemic to his work as a painter is his compassion for the contemporary viewer. His work attracts, rather than distracts, engages rather than alienates and inspires classical visual awe, without himself as painter, falling prey to the explosive artistic claims of originality or to the imploded non-claims of kitsch and postmodernism." Victoria Jaye

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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