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The Users Painting

Mátyás Zsolt Sárosi

Romania

Painting, Acrylic on Canvas

Size: 140 W x 97 H x 2 D cm

Ships in a Crate

This artwork is not for sale.

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

Ghettos, the bottom of society, drug addicts, poverty, desperation, homelessness - and in the distance the rich. Lack of empathy, an unbridgeable gap between rich and poor. The stark realism of the depiction is inspired by the naturalism of Emile Zola.

Year Created:

2015

Mediums:

Painting, Acrylic on Canvas

Rarity:

One-of-a-kind Artwork

Size:

140 W x 97 H x 2 D cm

Ready to Hang:

Yes

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:

Romania.

Customs:

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

Need more information?

Need more information?

My name is Mátyás Zsolt Sárosi, I was born in 1985 in the small Transylvanian town of Kézdivásárhely. I am a graphic artist, my earlier acrylic paintings are also rather colorful graphics. I like to paint/plaster layers by masking and build up the painting like an inverted sgraffito. Lately I have returned to pen and acrylic ink drawing. I attack the large canvas with the opposite impulse, I don't want large scale, airy compositions and spacious brush strokes, but I want to saturate it to the brim with as much detail as possible, typical of miniature painting. The larger the canvas, the thinner the pen. Sometimes it takes me up to a month to fill the page. My drawings can be browsed for a longer period of time, allowing the eye and mind to wander. The overall picture is complex, and here I learn from nature: the closer you look at a formation, the more complex it is, the more you can discover the miniature sprawl of its components, and as you break it down further and closer to its organic and then inorganic structure, to the substance itself in the end, it doesn't get simpler, but on the contrary, more complex with each step closer. In such a drawing, the viewer can examine under a microscope not just the familiar living or inanimate matter, but an abstract, biomechanical world of my own creation. With these drawings, I also search for my roots and the why of the surrealist expression that has accompanied my work throughout.

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