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Casus Nietzsche series. Beyond good and evil. Photograph - Limited Edition of 1

Sophie Polanski

Canada

Photography, Digital on Other

Size: 18 W x 27 H x 0.5 D in

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About The Artwork

Casus Nietzsche series. Beyond good and evil. The work shows the situation already existing, but still bearing the traces of its past, when undifferentiated borders was the main motive to exist. Visual decision lies in opposition of the moments “now” and “past” that visually identified as “here” and “behind”. In the protracted movement from top to bottom, our heroine jumps easily from paradise of ignorance, of places without distinctions, that was the state before the fall, when the consequence does not follow from the cause and logic does not succeeded due to the uselessness of both. We see our model is already here, in the midst of the real world of sun and grass, but what’s left there? What’s on the other side, some open spaces, some heavenly place where there is no longer entrance, what winds rustle there and what trees bear their fruit? The model is already with us in the world of differentiation, she passed almost invisible line between spaces, only model’s hands left behind, they still enjoy some air of irresponsibility, and not willing to lose the feel of innocence of creation. The elusiveness of light art, creativity and action still beyond good and evil, where the beauty will save the world, in the last moments before landing “here”. “24. O sancta simplicitas! In what strange simplification and falsification man lives! One can never cease wondering when once one has got eyes for beholding this marvel! How we have made everything around us clear and free and easy and simple! how we have been able to give our senses a passport to everything superficial, our thoughts a godlike desire for wanton pranks and wrong inferences!—how from the beginning, we have contrived to retain our ignorance in order to enjoy an almost inconceivable freedom, thoughtlessness, imprudence, heartiness, and gaiety—in order to enjoy life! And only on this solidified, granitelike foundation of ignorance could knowledge rear itself hitherto, the will to knowledge on the foundation of a far more powerful will, the will to ignorance, to the uncertain, to the untrue! Not as its opposite, but—as its refinement! It is to be hoped, indeed, that LANGUAGE, here as elsewhere, will not get over its awkwardness, and that it will continue to talk of opposites where there are only degrees and many refinements of gradation; it is equally to be hoped that the incarnated Tartuffery of morals, which now belongs to our unconquerable ‘flesh and blood,’ will turn the words round in the mouths of us discerning ones. Here and there we understand it, and laugh at the way in which precisely the best knowledge seeks most to retain us in this SIMPLIFIED, thoroughly artificial, suitably imagined, and suitably falsified world: at the way in which, whether it will or not, it loves error, because, as living itself, it loves life!” (Beyond Good and Evil by Friedrich Nietzsche. Chapter II: The free spirit) Limited edition print #1 of 20. Plaque mounting Made in Collaboration with Vitaly Korneev https://sophievital.wordpress.com

Details & Dimensions

Photography:Digital on Other

Artist Produced Limited Edition of:1

Size:18 W x 27 H x 0.5 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Everyone can press the camera's shutter button and take a picture, but does that mean that now we are able to better express our view on the world? Although it is assumed that the photo can correctly display three-dimensional world, it can not, and every photographer knows that the point of shooting, along with lighting, determines how the photo will look. Simple changing of focus' depth changes perception. The point of view travelling in three dimensions gives a lot of possibilities from which some one only realizes in a photograph. Throughout its history, painting has developed a lot of two-dimensional illusion of three-dimensionality, but none of them is not final. You can always go beyond what was suggested yesterday. Plane has its own graphic will and its demands to the painting. We are moving from photography to painting, developing new parallel ways of understanding the three-dimensional world in applying it onto a two-dimensional surface. Artistic field that we study is how to conclude a photographic image within the two-dimensional pictorial object. We consider photography as a starting point and premise work to change perceptions. Photography is only a starting point for changing the spatial structures which break down into simple planar components and then continue to change under the influence of different visual techniques. http://sophievital.wordpress.com/

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