View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
I just like pools and diving into them.. but more than I am drawn to depictions of leisure as beach or pool is a place where people are partly naked yet unaware and in a 'natural' setting so in some way this subject matter is timeless. I am drawn on the other hand to a nostalgic pleasure and it is difficult for me to separate the two, nostalgia from the depiction of pleasure if not impossible. This intersection is what I find interesting..
Painting:Acrylic on Canvas
Size:32 W x 20 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.
Simply put my work can be summed up in a Slim Aarons quote: “attractive people doing attractive things in attractive places.’’ I like photographs of leisure scenes like those by Slim Aaron, vintage travel and holiday postcards from the 50s and 60s. I use these kinds of images as well as my own personal bank to make my paintings. I am drawn to the mix of nostalgia and ‘Luxe, calme et volupté’ in these depictions of leisure. Here is a place where people are partly naked, relaxed and often unaware of themselves and being natural. I don't slavishly copying photos as to me this is most often a banal meaningless practice. I am generally reflecting on a scene, enhancing and manipulating the image from the original source changing it to closer relate to what I think of as a purer more direct feeling about the subject. The beach scene and other social settings form a backdrop to my own meditation on what constitutes ‘leisure’ time and how within that time and space I can focus more easily and clearly on expressions of social and personal emotional dynamics. In this sense I feel I am more of a traditionalist as I attempt to relate back to painting history and pull away from the other media -film and photo- which ironically inform and are almost always the starting point of my work. On a formal level I am currently focussed on extending and strengthening my colour palette, for example in many of the scenes I will incorporate primary and complementary colour dynamics - cool versus warm– to create spacial tension the way Richard Diebenkorn was able to so successfully; a large ocean/pool blue or tree green punctuated by a small area of skin tone or a bright red or yellow umbrella or swimming suit. I find in much of my painting I cannot easily separate nostalgia for a bygone era, the sensual from more specific contemporary iconography of human interaction. I think this makes the subject-matter multi-layered and keeps me interested in making work. Hopefully it makes it more interesting to the viewer as well.
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