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VIEW IN MY ROOM
VIEW IN MY ROOM
Size: 27.5 W x 19.5 H x 0.1 D in
Ships in a Tube
Artist featured in a collection
Showed at the The Other Art Fair
Limited edition of 10 (plus 1 AP) monumental pinhole print on duratran transparency. With signed and numbered certificate of authenticity. The autochrome was the earliest commercially viable photographic process. It was invented in 1903 by the Lumiere brothers, the founders of colour photography and cinema, and unveiled at the Photo Club de Paris on June 10, 1907. Alfred Stieglitz and Edward Steichen, the leaders of the American art-photography movement called the Photo-Secession, attended the event and began making Autochromes. Stieglitz, clearly delighted with the possibilities of the new medium, wrote in the London journal of Photography: ‘showing them [painters and art critics] the transparencies, one and all faces look positively paralysed, stunned…then enthusiasm, delighted, unbounded, breaks loose…all are amazed at the remarkable truthful colour rendering; the wonderful luminosity of the shadows…the endless range of grays [sic], the richness of the deep colours. In short, soon the world would be color-mad, and Lumiere will be responsible’. Inspired by the photographs of the Photo-Secession and using pinhole / autochrome photography, David has created photographic paintings with the atmosphere and luminosity of Lumiere autochromes plates. In the muse series, carefully selected models, interiors, antiques and directional lighting are combined to create timeless intimate studies of of muses. Muse being the classical inspiration for artists and the goddess who presides over the arts and the sciences; painting and photography. Works contain heavy colour saturation, chiaroscuro (the extreme contrast of light and shade) of classical paintings. The lack of focus and treatment of light creates subtle forms with soft, barely imperceptible transitions between colours and tones. Da Vinci described this as work "without lines or borders, in the manner of smoke or beyond the focus plane”. David likens this to the reflection given off by antique mirrors where the silvered backing has become corroded by age and patina having dulled the reflective quality of the mirror. This creates a distance between the viewer and the reflected plane, where the distance is occupied by time and history. Works are unedited from the original and imperfections from the pinhole process. Dust grit and tiny hairs that make their way past the pinhole aperture remain visible just as they would on the autochrome originals. Viewed close-up or under magnification, the dots of the autochrome / pinhole image become apparent, an effect often compared to french pointillist paintings in miniature. The intimate subject and small scale of each work gives them the uniqueness of antique miniature paintings. These historic qualities and luminosity allow the works to come alive when viewed in front of a light source.
Photography Print:Pinhole on Other
Artist Produced Limited Edition of:1
Size:27.5 W x 19.5 H x 0.1 D in
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:Artist's studio in United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
David Aston is a British artist (b.1975, Edinburgh) based in London. David secured his BA from Bath Spa University and interned with Bonhams as a fine art auctioneer. David's work is in UK and American collections and has been exhibited at national exhibitions including the Royal Academy of Arts London, The London Group, and The Other Art Fair London & New York. In 2019/20 David was long listed for the The Aesthetica Art Prize, The John Ruskin Prize and A-N Mentoring Award. David's art practice is inspired by the concept of diachronic and the way that language and culture has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic. David's recent works act as markers for our transition from material past to technology and data fuelled future. They highlight the profound and sometimes humorous duality of our past, present and future and question our humanity and culture at a time of unprecedented change. These multimedia works observe our transition to an age where we need to attest our humanity to machines, proclaim our rights to data, virtual assets and memory, question our collective cultural legacy through acts of digital archeology, and explore digital possibilities through hashtag muses. David's earlier sculptural photographic works explore themes of anonymity, commoditisation and copyright through the curation of anonymous 19th century social histories (ULOs, Unidentified Living Objects). Collected photographs are represented as postage stamps, re-packaged as modern point of sale consumables, t-shirts and made into playthings in antique slot machines. These early works also explore the potential for both copyright and copywrong in the reevaluation of historical and personal objects. In the Muses series David draws upon his knowledge of early photographies to create timeless highly-choreographed photographic paintings which play with identity, place and time.
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