VIEW IN MY ROOM
United Kingdom
Sculpture, Neon on Glass
Size: 106 W x 5.1 H x 0.7 D in
Ships in a Crate
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Artist featured in a collection
The content of this work problematises definitions of art and the chaotic, upset state of the artworld caused by the pluralism in contemporary art practice. With the careless fluidity between attractive neon and the disturbing nature of the words which it depicts, I try to communicate the neurosis of the artworld - just like a human body, the artworld is a system that is vulnerable to failure.
Sculpture:Neon on Glass
Original:One-of-a-kind Artwork
Size:106 W x 5.1 H x 0.7 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:Bulgaria.
Customs:Shipments from Bulgaria may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Aleksandra Marinova is a Bulgarian interdisciplinary artist born in Cyprus, Limassol in 1998. She is currently based in Bulgaria/UK. She attended the National College of Art and Design, Dublin, Ireland (2016-2019). 'My practice is the sharply bipolar division of the representational and the non-representational. I am concerned with the human subject and the ways in which contemporary art engages with- and points at it, metaphorically and literally. It is no secret that since the departure of postmodern and conceptual artistic practices, the artworld is experiencing a state of disturbance, confusion, uncertainty - the material identity of the aesthetic object is 'unfixed' - '...the end of medium specificity, which has given way in artistic practice to a mobile, variable, or indeterminate relation between the terms of a work and its material means. It is no longer understood necessarily to take only one form - indeed, it may not require a concrete form of any kind.' (Jeffrey Weiss, Artforum, March 2012). Finding myself a practitioner existing in that turmoil, I am constantly testing the conditions on which artmaking operates and trying to identify current problems with it: is painting still alive? Haven't we all seen what painting can achieve, from the brilliance and technical proficiency of Michelangelo, to Kandinsky's minimalism? Is nostalgia to a medium and expression what keeps painting alive in the 21st century? What defines the status of the art object after the ready-made? I am nostalgic, therefore I still paint. And I will always paint; even if the process is reduced to a recycling of previous aesthetic discoveries. In my paintings I am often torn between the smooth, perfect, almost superficial-like finish and the perverse three-dimensionality that paint affords. I often find myself wanting to respond to works of artists who speak to me, and offer a contemporary take on their subjects - such as Rodin, Tamara de Lempicka, Mark Rothko, Bas Jan Ader, Martin Creed, Robert Montgomery, Walker and Walker. After all, all I can do as a practitioner in the 21st century is to re-imagine, re-construct, re-think already existing concepts. I experiment with neon, performance and video performance. I write about art and am interested in systems of art, art theory, psychology, fetishism. For further information, you may contact me at alexandra.m2909@gmail.com
Artist featured by Saatchi Art in a collection
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