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Through my contextual research, I discuss Prometheus as a ghost in my practice trying to achieve a particular Prometheism and is a development of the concept of spectral revolution. There is this Specter concerning the spectrum, so any punitive binary oppositions and dichotomies. too satisfy psychological needs, and reflect the flow of phenomena. The dichotomy between, spirit and matter, spiritual and material, or life and death, or artificial and natural. I also follow Nice in deconstructing the dichotomy between good and evil as a binary opposition, this spectral aspect refers to the Spectrum in this sense, and I think that many paranormal phenomena when we pay attention to them correctly, are clues and hints. The argument about in what sense Prometheus is a ghost, which I hope to reveal, a ghostly revolution that Heidegger calls the essence of technological science.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:24 W x 30 H x 0 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
Artist Statement Olga Mun My current work uses abstraction to explore the boundaries between the historical reference to art and this living history, trying to name and vocalise this conflicting space in which we now live. References to the environment, art and human history take centre stage in the large, vibrant paintings. With a free, expressive drawing style layered with many different images, mixing figurative and absorbing elements, working largely intuitively. I use a lot of images taken from photographs, repurposed and reconstructed according to my personal vision. Often the images oscillate between figuration and abstraction. The work is complex and multi-layered. Through deconstruction and degradation, I find their equivalents both in imagery and in the application and removal of paint from the canvas. Systematic marking and spontaneity find equal grounds, links are not a secret, but a condition of work. Irreverence and crushing absurdity battle among the parables of human and natural history. The crisis of our own development is cultural, political and ecological - an encounter with it in my current work. Like social systems of invention and destruction, each painting is created using additive marking and restorative techniques such as scraping, painting, or solvent application. I embrace spontaneity and use the physical process to reflect on the nature of paint. This physicality breathes life into the pictorial space and helps the viewer connect with cultural objects, our relationship with the environment, and our preoccupation with idealised representations of the world.
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