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The price of the work is the monetary value the artist considers the work merits. That said, price should not be an obstacle to ownership of a work which will give the buyer pleasure. The price is negotiable down to a threshold below which the work is not available.

On the Prints

Most of the works on this site are Limited Editions with each accompanied by a Certificate of Authenticity signed by the artist.

All prints are printed to edge and are shipped in a box wtth the print fully protected. Very high quality museum archival media are used to print the works and the nature of these media is that the edges of the work have to be protected. Buyers should be aware of this when handling the prints.

Mounting and, if desired, framing, is available at buyer's discretion at cost. Discussions should be conducted with the artist, through Saatchi Art, should this be the case.

The Work

Since the advent of photography artists have sought to depict images which cannot be captured by photographic means. Among these are natural phenomena where the light effects defeat even the most sophisticated of cameras. 

But the artist takes these to extend them to enhance dramatic effect. 

The composition of this work is inspired by the natural landscapes of South Africa, where the artist lived for a number of years.

Due to the absence of city lights, nighttime has a quality which it is not possible to experience in more populated areas. In addition, in South Africa there is an inexplicable connection to the deep past of human existence long before the settling of people as sedentary.

The idea of the work is to suggest to the viewer that ancient past back through the 250,000 years or so that our species, Homo Sapiens, has existed.

In the back of our minds we are all haunted by a sense of our deep past.

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Under a forest sky - Limited Edition 1 of 15 Photograph

Malcolm D B Munro

United States

Photography

Size: 33 W x 47 H x 0.1 D in

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This artwork is not for sale.
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link - Artist featured in a collection

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link - Showed at the The Other Art Fair

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About The Artwork

The Fine Art Print The Price The price of the work is the monetary value the artist considers the work merits. That said, price should not be an obstacle to ownership of a work which will give the buyer pleasure. The price is negotiable down to a threshold below which the work is not available. On the Prints Most of the works on this site are Limited Editions with each accompanied by a Certificate of Authenticity signed by the artist. All prints are printed to edge and are shipped in a box wtth the print fully protected. Very high quality museum archival media are used to print the works and the nature of these media is that the edges of the work have to be protected. Buyers should be aware of this when handling the prints. Mounting and, if desired, framing, is available at buyer's discretion at cost. Discussions should be conducted with the artist, through Saatchi Art, should this be the case. The Work Since the advent of photography artists have sought to depict images which cannot be captured by photographic means. Among these are natural phenomena where the light effects defeat even the most sophisticated of cameras. But the artist takes these to extend them to enhance dramatic effect. The composition of this work is inspired by the natural landscapes of South Africa, where the artist lived for a number of years. Due to the absence of city lights, nighttime has a quality which it is not possible to experience in more populated areas. In addition, in South Africa there is an inexplicable connection to the deep past of human existence long before the settling of people as sedentary. The idea of the work is to suggest to the viewer that ancient past back through the 250,000 years or so that our species, Homo Sapiens, has existed. In the back of our minds we are all haunted by a sense of our deep past.

Details & Dimensions

Photography Print:Digital on Paper

Artist Produced Limited Edition of:1

Size:33 W x 47 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.

It is possible, though not proven, that abilities of whatever nature, come from our genes, passed on by parents. In my case, my mother. My mother dripped art. Her sister, whom I never met, was a concert pianist though both brothers were engineers as was their father. My mother lived entirely in the arts world and I grew up in Edinburgh surrounded by artists of all nationalities. I remember visiting one, a painter. Long after my mother had left us, my two brothers and I visited an artist friend of hers. He was as poor as were we and he gave us bread slices covered in sugar. My father, an intellectual and self appointed scholar, had chosen not to work; defeated by the breakdown of his marriage. We went overnight from among the very wealthy in the city into genteel poverty since he had lost his job with the Royal Society of Edinburgh as a result of his withdrawal from the outside world. This was a peculiar upbringing. What it meant for me is that I could not do anything but choose a career which guaranteed security of employment and income throughout my life. A natural choice was engineering. I spent my life in this career for which I was quite unsuited and quite alien to me but I was good at it, I am tempted to say, very, very good, unfortunately. Now I have reached a point, with that career behind me, where I can pursue what I love and am good at. Well, better at. All those years, in every waken hour outside of the demands of the intensity which engineering requires, were spent pursing knowledge and practice of arts; art, literature, theatre and music. At college I hung around with the artists. My fellow engineering students seemed alien beings to me. I was fortunate indeed to grow up in Edinburgh and one could not wish for a fuller cultural environment. Since my mother was an artist, I was exposed early to the creation of art, both hers and that of her artist friends. Before coming to this country to join family, I lived in South Africa for a period of years, which has influenced me in ways that are not readily apparent in any of my art works. I think the profundity of influence is due to the particular light that fills the landscapes of that part of the world and the people. There is, too, a deeply felt sense of being connected to the world and to the soil upon which we stand and live. I suspect that the political situation of the time made me aware of power abused to subjugate others and to deny them their freedom.

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