VIEW IN MY ROOM
Pieter B&W (Museum Edition) Photograph
United States
Photography, C-type on Paper
Size: 60 W x 40 H x 2.5 D in
Ships in a Crate
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Artist featured in a collection
About The Artwork
Available in Museum Edition of 5 - 40"X60" Artist Hand Printed Edition of 12 - 24"X36" Please contact the artist for details. In this series, LA Monuments: Disney Hall Sessions, I am engaging in a dialogue with the work of legendary architect Frank Gehry, whose architecture has inspired me as an artist over the years. Frank Gehry brought motion, lyricism, symbolism and remarkable cubism to the structure of LA Philharmonic. As a former architectural photographer and narrative filmmaker with a lifelong love affair with abstraction and cubism, I yearned to take on the formal language and emotional impact of this amazing architecture. Perhaps one of the most photographed structures in Los Angeles, I felt challenged to bring a conversation to it that resonated emotionally and creatively. Representatively, the beauty of this structure has been captured thousands of times. Therefore, it was my intent to go against the grain of the traditional tenants of photography and exploit the limited nature of my medium, not unlike Frank Gehry did as an architect. I pursued the idea of addressing as many of the various forms and milieu represented in this particular structure as possible: abstraction, cubism, motion, harmony, and lyricism. Methodology: Here I limited myself to the photographic conventions and techniques of the 20th century while using my 21st-century tools. In this work, I was using my Nikon digital SLR and photographed this subject matter by using in-camera multiple-exposure, camera movement, and perspective change to achieve my desired capture. There is no Photoshop layering or other manipulation other than color/contrast and finishing. This method allowed me to break down the delineation of this three-dimensional object and reinterpret Frank Gehry's marvelous creation through my photographs. In the end, I aimed to take this conversation and bring it full circle. This Musem edition is printed on archival C-type, face-mounted on UV museum acrylic and back-mounted on Nudo aluminum board, which then is framed in raw plain steel. This piece is very heavy, it weighs around 60lbs (27kg).
Details & Dimensions
Photography:C-type on Paper
Artist Produced Limited Edition of:5
Size:60 W x 40 H x 2.5 D in
Frame:Other
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
Above all, I am a storyteller. My medium is the camera, and my dialogue fills the space between reason and the unconscious. I have been an image-maker for over 25 years. I hail from Budapest, Hungary, the birthplace of my photographic heritage in the form of such influencers as Moholy-Nagy, Kertesz, Munkacsi and Frank Capa (who incidentally said: "It is not enough to be a talented photographer, you also have to be Hungarian." By which he meant Hungarian-Jewish.) As an Atheist-Jew turned Theologian turned Spiritual-Gangster, I have always sought the light. It first struck me through the viewfinder of my Russian medium-format camera. I was only 10. Since I can remember I have always interpreted the world through images. They gave me, a childhood dyslexic, a way to engage in meaningful discourse that otherwise might have been denied me. My work is reactive. Profound experience is my trigger. It resonates and is assimilated into the instinctive/emotional/intellectual self. This is where my stories are born. They are seldom linear or narrative, but are always personal, often contemplative, and unequivocally rooted in the collective unconscious. My current collections are such a discourse. It discusses the myriad ways in which the stimuli of my environment in perplexing Southern California affect my instinctual self. In four projects, I am engaging three unique, but related, formal qualities of my medium. Take the mythical vortex that is Joshua Tree, or the concrete pandemonium of Los Angeles. The terrestrial gateway to the “other side” versus the estuary of the terminally unique. Both a cause for a pause.
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