VIEW IN MY ROOM
Painting, Acrylic on Canvas
Size: 72 W x 72 H x 5 D in
Ships in a Crate
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My scale isn't usually the extravagance of the Abstract Expressionists. But this one is. It punctuates and gives pause to turning points in a "story." I paint in acrylic at a larger scale. The acrylics offer me a greater color spectrum than oils. Pearlescent colors give the work an extra-terrestrial tone. The caricature lines surrounding some of the elements are suggestive of political cartooning statements or those of the late works of Philip Guston. I have Macular Degeneration, which hasn't hindered my painting abilities. Edgar Degas said that his macular condition had forced him to paint not so much as what was in front of him but what he saw in his imagination. In my case, I found myself thinking in terms of micro/macro lenses. Ideas sprang to life through my external AND internal vision. The fantasies between the real and the unreal come together fluidly. They are inventions of what may be percolating in our future, which is the story beneath the surface of the painting. The B1-120 painting has a black intrusive form in conflict with other elements, as did the black monolith in Kubrick's "2001, A Space Odyssey." Thought provoking, isn't it?
Original Created:2023
Subjects:Fantasy
Materials:CanvasAcrylic On Canvas
Styles:Surrealism
Mediums:AcrylicAcrylic On Canvas
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:72 W x 72 H x 5 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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I was born in Brooklyn, New York. In today's environment, there are a number of issues of great concern to me. Particularly, I think of the existential possibilities of the human race (i.e. climate change, political hostilities, racial animus, etc.). However it's not much fun to depict such themes without becoming voyeuristic or depressed victims ourselves. I prefer paintings that one can be comfortable viewing (like Tom Nozkowski’s work or the Dreaming paintings of Australian aborigines), while actively thinking positively. So when I began writing some genre screenplays, I wanted subconscious story to resonate with the viewer. I thought that intimate pastels would comfortably introduce dramatic elements without becoming offensive. The theme isn't overt. It may be suggested by the absence of humans or organic forms we can't recognize. Large acrylic paintings punctuate turning points in my ongoing vision.
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