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Order and Chaos, evaluation by Eliza Yacheva. For the creation of this painting, the author Dominic Cooper was influenced by the second law of thermodynamics. The law of states that the total entropy of an isolated system can never decrease over time. The total entropy of a system and its surroundings can remain constant in ideal cases where the system is in thermodynamic equilibrium. This artwork is about idyllic harmony and the exact opposite – Chaos and disorder. It signifies the extremity of constrasts; good and evil, life and death. This is no place for the Aristotelian Golden mean. The artist Dominic Cooper cites the British cosmologist Martin Rees who states "Ordered states get messed up, but not the reverse. In technical jargon entropy can never decrease". The bottom and upper right corner of the painting suggest the Order, by revealing a geometrically correct rectangular shape with absolute straight lines. They are the eye-grabbing parts of the masterpiece because of their simplified shapes, in total contrast with the rest of the composition, and because of the vivid red colour used in the bottom right square. Order and Chaos are eternal and timeless topics of the human conscious and existence.
Painting:Oil on Canvas
Size:27.5 W x 39.5 H x 1 D in
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.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
Born 1960 It is a fact that truth cannot be found in appearance, the genetically adapted eye with its restrictions reveals only the particular. Truth, for me, is more likely to be gleaned within the subject; in the form of intuition. My paintings are therefore intuitive diagrams which I then compose into paintings. The rock tombs of St Patrick's, in Heysham, Lancashire, provided a template for my simplified outlines, which are used not only within the pictorial structure but also as potent symbols of being and its temporal constraints. For me, painting has to be as 'authentic' and 'real' as the expanding universe we find ourselves in.
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