VIEW IN MY ROOM
United Kingdom
Painting, Oil on Canvas
Size: 39.4 W x 27.6 H x 1.6 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
"Vanitas" re-appropriates and mixes up the central motif of Tracey Emin's "My Bed" (1998), exploring the concept of exposure vis-à-vis Emin's relational aesthetic. In my view, the magic of "My Bed" is in the activated space around the object, which shines a light on viewer expectations about public and private, formal and intimate space in the context of the museum. It is not the littered bed or its cornucopia of female toiletries that provokes but its potential violation of an otherwise sanctimonious setting. During the Vietnam War, American soldiers overused antibiotics to avoid contracting gonorrhoea in the Asian brothels. A resistant strain developed in response, to this day compromising our immunity to the virus. My painting positions Emin's bed on a backdrop of sky blue splotches and swirls, derived from a microscopic image of lymphocytes attacking gonorrhoeal bacteria. This alludes to all types of exposure invisible to the naked eye, no less real than the personal items strewn around the artist's bed. "Vanitas" is a comment on how art has evolved; what constitutes art today. Various stylistic epochs are evoked, from Dada to synthetic Cubism to Surrealism, tying Emin's work to a greater historical lineage. The title of my work reiterates this continuity, harking back to the 17th century Dutch genre of painting. "Vanitas" thus extracts aesthetic beauty from self-indulgent objects, while cementing conceptual art in a long trajectory of practice.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:39.4 W x 27.6 H x 1.6 D in
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
Rachel has made work all of her life to translate aspects of experience escaping spoken language. Her painting practice uses analogue and digital processes. She manipulates found imagery by hand and in Photoshop, to produce a foundational composition for painting. The images share a loose conceptual framework in which meaning can shift and emerge. Arbitrary contrasts trigger a process of reconciliation, while content divested of context simultaneously liberates and disorientates. The work is inherently political in its free disengagement with and re-invention of content. Composite images are transferred to canvas and warped within Classical conventions of painting. Thus the work speaks to changing mores of value systems. Rachel is interested in image trajectory and staying power—in memory, hard drives or transmission over the Internet. By re-presenting signs and symbols, she highlights an ambiguity of native origin behind their enduring presence, as recirculated shorthand for fictive and historical narratives. Influences are vast, but important among them are ideas of Jacques Rancière, Heidegger and performance art theorist Peggy Phelan, whose work on negation and the phantom (Female) body also resonates in Rachel’s curatorial practice and work with other artists.
Artist featured by Saatchi Art in a collection
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