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Psyche D / EvH
Psyche D / EvH, in the studio
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Psyche D / EvH - Limited Edition of 24 Print

Chuck Elliott

United Kingdom

Printmaking, Pigment print on Paper

Size: 37 W x 37 H x 0.1 D in

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$1,280

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Artist Recognition

link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

I drew Psyche D in 2017, as part of my Current show. It’s a wildly complex drawing, that freewheeled out of control as it went on. In its initial incarnation it was conceived as a kind of giant psychedelic Krispy Kreme doughnut, with a petal like structure containing a wholly fluid series of line drawings, that bubble and move like a 60’s oil light show, in a kind of camomile pink colour. Looking back from this distance it was either insane, or brilliantly exuberant. I’m not sure which. That piece has yet to be editioned, as I feel it would test the goodwill of any gallery to the outer limits, so it remains on hold, lurking in the back of my imagination, festering really. There’s an interesting conversation to be had there about what should and shouldn’t be editioned, and who chooses. The simplistic answer is the artist of course, but it’s a much more complex issue than that in reality. Ultimately I think you have to take your audience with you, as a shared experience in which you travel progressively away from your start point, trying not to leave too many people behind. If you lose everyone on the path, then you end up speaking to no one, which in itself is an interesting thought to contemplate. Does an artwork need an audience? Not sure. Simply making the work has some significant benefits to the artist, so I’m minded to think the answer is no, it doesn’t need an audience. After drawing Sun : Moon : Cosmos {67} a few months earlier, I realised that I could probably steer the Psyche D study in a similar direction, and so started work on this largely gold and blue piece, that like Cosmos holds a separate core at its centre, a circle in the void, and then surrounds that with an explosion of colour and form, that in some way seems almost like a universe or cosmos, surrounding a planet like form. The blue core can be read in a myriad ways, certainly as the blue pill / red pill question from Lewis Carroll’s Alice books, later referenced in the Matrix, certainly as a reference to Bill Ander’s Earth Rise photo taken from space in 1968, alongside any number of other dualities that you may care to plant there.

Details & Dimensions

Printmaking:Pigment print on Paper

Artist Produced Limited Edition of:24

Size:37 W x 37 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.

Chuck Elliott (b. 1967, London) is a pioneer of digitally generated art. He claims to have used the first Apple Macintosh imported to the UK in 1984, the same year Apple launched the computers, with their now infamous Orwellian advertising campaign. Acquiring his own machine in 1989, he has been drawing, sculpting, editing and compositing digitally ever since. Graduating in 1992, he founded a succession of small, successful studios in London. In 2005 he moved to Bristol, where he now works full time on his sublime, fluid studies in light, colour, motion and liquid geometry. Delighting in the machines' ability to hone and craft sculptural drawings, render, edit, mix, cut, paste, sculpt, and re edit, colour spaces are manipulated, light levels finely tuned, and a myriad of images and series of derivations are produced, using processes analogous to the way in which modern music is realised. Chuck Elliott is reinterpreting the essence of abstract fine art print making for the digital age. Pure logical progression.

Artist Recognition

Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in London

Artist featured in a collection

Artist featured by Saatchi Art in a collection

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