VIEW IN MY ROOM
United Kingdom
Sculpture, Metal on Stainless Steel
Size: 78.7 W x 70.9 H x 59.1 D in
Ships in a Crate
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Featured in Rising Stars
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The start of this concept began whilst drawing figurative sketches, practising with paper and pencil. Looking at the sketches I realised that the outline can be the sculpture it self rather than the volume within. Knowing that an outline does not naturally exist and we only see things because of what is behind it, I therefore wanted to create a non-existing outline with an existing form. Like some painters started to use a black outline round their realistic paintings. Like if you imagine the painting without the content and only the black outline. Focusing on the outline I manipulated stainless steel pipes to keep form and create abstraction. For me it looks like words. Born and raised in Egypt, I look at them and see Arabic words. With a small manipulation to the outline actually the piece casts a shadow of obvious words recognised by the eye. Looking at my work through a camera’s eye, shows me that the shadow and reflection of the sculptures itself writes Arabic words but still the form as a sculpture. Perhaps, the viewer will only see abstract shapes but this collection is the outline of classical forms that I usually draw. This is what makes me understand the connection between classical sculpture and abstraction. It is all one form it just depends on how the artist present it. It is a natural progression form formal sculpture to simplification. So through my process and progress I combine sculptural form, and language. The addition of the colour and the shadows, which cast on the walls and on the floors, still influences the concept. From simply a visual connection to the mysterious words hidden with in. Endless ideas can come out of this theme. I now start to see body form as word, words and positions I could manipulate. So the words can describe form and still maintain human form. Colour in all my themes describe emotion, movement, and experience and is a description of the motivation behind the piece.
Original Created:2019
Subjects:Abstract
Materials:Stainless Steel
Styles:AbstractMinimalism
Mediums:MetalPaintSpray Paint
Sculpture:Metal on Stainless Steel
Original:One-of-a-kind Artwork
Size:78.7 W x 70.9 H x 59.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
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 Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Egyptian born British Sculptor Sam Shendi creates joyfully coloured abstractions of the human figure which, with the subtlest of indicators, hints at the complexity of human interactions. He graduated in 1997 with a first class BA degree with honors from Helwen University of Fine Arts in Cairo. Shendi's works references the work of "minimalism", the style of paring-down design elements and focusing on the medium of steel, aluminum and paint. Some of his works are deceptively simple in form but include the qualities of metaphorical associations, symbolism and suggestions of spiritual transcendence, which is what the artist of the 60's and 70's were trying to avoid. His works whittles down the human figure to its simplest form enabling the exploration of the idea of the human form as a vessel. So by reducing the human body to a container or minimal shape, his creations become centered on an emotion or an expression. The simplicity is no longer the end result and devoid of meaning but a revelation of a hidden truth and intellectual expression. Shendi's work, therefore takes a fine line between representation and abstraction. Whilst he appreciates the abstract form his interest is in the human and psychological dimensions to his sculptures. Stripping human nature down to its essence, and then expressing it in a sculptural language. Firmly based in modernist morphology his colorful architectural forms abbreviate the human figure and nod to his background in monumental sculpture and interior design. Shendi juxtaposes cartoonish lemon, ultraviolet and pumpkin-coloured blocks, conjuring associations with children's toys and industrial design and lending his pieces an emotive and playful quality. His candy-coated palette animates the archetypal themes he addresses in his work. Assisted by the use of colour to deceive the eye, flouting a sense of gravity and taking the attention away from the material also gives the work a strong optical impact. Sometimes we may feel the tension which despite their moderate size almost bear a "˜'will to grow'' into monuments that we could easily imagine standing in the center of any city or landscape. Pieces balance between public art, sculptural and on the border of design. With laconic titles his work takes on themes both in subject and style and it is clear to see pieces that group together in an exploration of an idea. They form a visual story and a unique style.
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