VIEW IN MY ROOM
Photography, C-type on Paper
Size: 50 W x 65.7 H x 0 D in
Ships in a Tube
Ghost in the Machine This series was created from more than 7000 photographs taken during the first COVID lockdown 2020. Each image is a blend of around 200 photographs fed into focus stacking software used in scientific and macro imaging. The outcome, composition and colour balance is unknown until the algorithm outputs the stack. The title of each work is the precise time that the process was completed. I remain optimistic that the future of AI will contain a kernel (ghost) of humanity and there will continue to be beauty in the collaboration between us and the machines. (other sizes available upon request)
Photography:C-type on Paper
Artist Produced Limited Edition of:5
Size:50 W x 65.7 H x 0 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. 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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"I'm always celebrating what's in front of the lens." - Casey Moore Casey Moore is a UK-based photographer. Born in Invercargill, New Zealand and raised from the age of three in Switzerland and later London, Moore has kept a narrative of connection with his various homelands running through his work. This narrative is apparent in the way Moore photographs his subjects with a careful consideration of place. The works in his Sublime Symmetry series were taken in situ in the Fiordlands of the South Island, while his photographs of native New Zealand insects were taken in the British Museum: mirroring his own position as an Antipodean transplant in London. T.J McNamara, of The N Z Herald, describes the work as ‘brilliantly revealing, all having a special place in our fauna and imagination”. A deep connection to materials is also woven through Moore's practice. He uses primarily analog methods for capturing and printing his photographs, and massages the large-scale prints by hand through chemical baths. This physicality has become integral to his work, and is reflected in the bodily experience of viewing his photographs.
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