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From my series Portraits of Scarlett-

'Philosophically, she was a skeptic, the only one she'd ever met as far as she could tell, and, as such, she would not have been surprised to find she'd been outwitted by a powerful evil demon putting all its efforts into deceiving her, but this she hadn't seen coming.'

This big and beautiful piece is printed on Hahnemühle Baryta fine art paper, lightly textured and brilliant with blues and purples.  The image itself will be 30x30" and centered on paper trimmed to 36x36". It will be signed and numbered on the back and shipped with a certificate of authenticity.

To create this piece, I merged several images shot on tripod. There is one model, but to our delight, there were actually two peacocks.  

Limited Editions:
30x30 on 36x36 | Lim. Ed. of 5
20x20 on 24x24 |  Lim. Ed. of 15
12x12 on 14x14 |  Lim. Ed. of 50
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VIEW IN MY ROOM

Self-Defeat 2/5 - Limited Edition of 5 Photograph

Christie Stockstill

United States

Photography, Color on Paper

Size: 36 W x 36 H x 0.1 D in

Ships in a Tube

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$1,180USD

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306 Views
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About The Artwork

From my series Portraits of Scarlett- 'Philosophically, she was a skeptic, the only one she'd ever met as far as she could tell, and, as such, she would not have been surprised to find she'd been outwitted by a powerful evil demon putting all its efforts into deceiving her, but this she hadn't seen coming.' This big and beautiful piece is printed on Hahnemühle Baryta fine art paper, lightly textured and brilliant with blues and purples. The image itself will be 30x30" and centered on paper trimmed to 36x36". It will be signed and numbered on the back and shipped with a certificate of authenticity. To create this piece, I merged several images shot on tripod. There is one model, but to our delight, there were actually two peacocks. Limited Editions: 30x30 on 36x36 | Lim. Ed. of 5 20x20 on 24x24 | Lim. Ed. of 15 12x12 on 14x14 | Lim. Ed. of 50

Details & Dimensions

Photography:Color on Paper

Artist Produced Limited Edition of:5

Size:36 W x 36 H x 0.1 D in

Shipping & Returns

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

There is a space between the mundane and the mythical where I’d like my images to reside. Larry Sultan refers to it as “that ambiguity…between the ordinary and the surreal or the extraordinary.” Like Sultan, I prefer to find that in what already exists rather than to create a set or build it in Photoshop. There is plenty of magic in the everyday if one pays attention, and it doesn’t have to be bold and busy. It can be still and quiet, hinting at a narrative, as in the work of Joyce Tenneson, Cig Harvey, William Eggleston, and Vivian Maier. As much as, or probably more than other photographers, though, my influences are literary. The presence of grace or magic in the ordinary characters and situations of a Flannery O’Connor or John Updike story dabble in the realm of the absurd in a quotidian setting. Like so many enduring stories, with my work I attempt to investigate and better understand what it means to be human: a recognition of otherness as well as of self. I am still blown away that other people will commit so intently to helping me bring an idea to life. With my first series, Beautiful Madness, I buried friends in crumpled paper, covered them in writing and paint, wrapped them in yarn and burned their fingertips with matches in an effort to depict the obsession and frustration that can consume a creative person who is unable to create. For my part, I spent two days staining and crumpling paper until my hands were cut and bleeding. I wrapped an entire piano (and my husband) with yarn, pulled up the carpet in my room and wallpapered two walls just to peel it all off and leave it in strips on the floor. When I begin considering a new project, I think about what I want to know about the subject, how I might translate that visually, and what new perspective I could offer. What can I do in the physical realm to prevent having to do it in post-processing? This part of the process takes a long time, sometimes months or a year of meditation and contemplation for me to make the first picture. Often, I have to force myself to schedule the first shoot before I feel ready—decide that I’ve got a strong enough foundation from which to leap. With the Architecture of Women series, the leap was a self-portrait in my bedroom. I liked the suggestion of intimacy, while the smudged mirror and unrecognizable face allowed for distance. For the project, I asked women I knew (no models,) and I sat beside them rather than stand in front of them with the camera.

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