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Less than a year into his tenure, the cumulative environmental impact of Donald Trump’s presidency is disturbing. His decision to pull the US out of the Paris climate agreement, his claims that global warming is a “hoax” invented by the Chinese, his administration’s formal repeal of the coal-crushing Clean Power Plan, and suppression of major studies into the public health risks of coal-mining; all make for unsettling reading. This diptych juxtaposes imagery of comical ‘Soot Sprites’ from Spirited Away (Hayao Miyazaki, 2001) with sinister, crime-scene documentation from Black Coal, Thin Ice (Diao Yinan, 2014) in which the dismembered parts of a human body appear in shipments of coal.
Original Created:2017
Subjects:Popular culture
Materials:Canvas
Styles:Fine ArtFigurativePop Art
Mediums:Oil
Multi-paneled Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:24 W x 15.9 H x 1.4 D in
Number of Panels:2
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
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 Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Born 1993, Newcastle-under-Lyme. My work tends to be populated with image fragments harvested from the dystopian worlds offered by sci-fi cinema. An on-going interest in digital culture(s), advertising and social media platforms has informed the subject matter I composite as painted layers. I am beginning to associate "lag" with positive attributes like the time to reflect (through painting), in opposition to the more normative, technological shorthand for a deficit in functionality. The imagery explored in my recent work tends to linger with notions of loss, where the presence of technology seems to provide some form of compensation. The pictorial spaces in my paintings have an intimacy informed by cinematography, fleeting moments on-screen have been materialised in oil paint over protracted time. Objects used as narrative signifiers are both depicted and re-experienced as props. The process of materialising these objects and presenting them within the gallery space alters their original narrative significance, giving them a new expressive role to play. By using new technologies to process product-like objects that quote from cinema, literary fiction and art history, these hollow replicas serve as an uncanny presence in tandem with my paintings.
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