VIEW IN MY ROOM
Peru
Painting, Acrylic on Canvas
Size: 39.4 W x 59.1 H x 0.8 D in
Ships in a Tube
The Messiah is a work of art created by the artist Francisco Gimon, who considers that Jesus Christ is the most important person in the history of mankind, without religious or emotional overtones, the artist Jesus Christ has declared the following: "He is by far the most important man in history, I have not met another person who has marked a before and after in the timeline as we know it, to the point of resetting it to a before and after Christ (AC / DC), It is undoubtedly the most important in the history of mankind. "
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:39.4 W x 59.1 H x 0.8 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Peru.
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Francisco Gimon work examines the relationship between a thing and its essence, between what we see and what an image implies. The sense of precarious balance that can be found in his recent paintings thus reveals how utopia and dystopia can coexist within the same image. Gimon delves into the territory of phenomenology and reviews issues related to perception that have fascinated philosophers and art historians, and that have also captured the attention of artists. In his recent paintings, Gimon juxtaposes painting with fragments of urban and natural landscapes. In an effort to shed light on the formal and conceptual dynamics through which Gimon approaches his phenomenological research, by shedding the history of every element reproduced in an environment devoid of identity, Francisco Gimon paintings highlight the crisis of a point from a humanistic point of view, as they illustrate the fractured relationship between an individual and their cultural context. The relationship that an individual has with a place is made up of visits and memories that are stratified in time, resulting in a sense of belonging. As soon as a landscape delivers its history to a context that is capable of receiving all things, an individual may lose consciousness of his position in that environment. Since Gimon's landscapes nullify the concept of a border through which belonging to a place is defined, they end up representing a nation-world in which different identities cancel each other out by overlapping. In the absence of a border, one could see a place that can finally welcome all people. In front of Francisco Gimon paintings, the viewer is then forced to position himself in front of the architectural transformations that have taken place in the main cities of the world during the last decades and that are truly the most visible aspect of history. a profound metamorphosis. This challenge relaunches the initiative of the active spectator who, when looking at the world through a window, finds a mirror in which he sees himself. These paintings must be approached with the concepts of a window (the man who sees the world) and a mirror (the world that shows man the image of man himself) in mind. Francisco Gimon has revealed how in Western culture the mirror and the window have governed and legitimized the production of images, awakening in man the impulse to control the world with his own gaze and to arm it with instruments.
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