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Sculpture, Textile on Soft (Yarn, Cotton, Fabric)
Size: 23.6 W x 78.7 H x 23.6 D in
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MARAVEE, 2018 Hand made felt Hight 230 cm x depth and width 70 cm This , until now the lagest flet sculpture I made , is called MARAVEE, which means in an old Friuli dialect( a dialect spoken on Italian side (Friuli Julia- Romana district at the border with Slovenia), something like »marvellous« or extraordinary. This sculpture is caring this name , because it was made specifically for the art festival MARAVEE, established by an Italian art historian Sabrina Zannier already back in 2002 and is joining all artistic expressions, from dance, theatre to visual arts and taking place in a wonderful ambient of a castel of Susans ( Italy/ UD) (google: castello di susans maravee) At the moment it is still on the show in Sloveina, Loža gallery in Koper where the "Marvee" festival ends each time. With this piece I'm still searching possibilities that ( hand made) felt offers in terms of density and sculpting. I'm still very intrigued by the possibilities that it offers, by making many different layers and then, performing different cuttings. This time I wanted to capture the structure of a »horsetail« plant, or something ,with the »principle« of vertebra, repetition, rhythm….and again- the inner »self« of the sculpture, the history of formation. It's size also makes a big difference in comparison to my small intimate pieces because it's larger then a human and it feels like a "personality" I have to point out the slowness of the process of this kind of felting. For 1 mm in diameter of , for instance 12 cm , one needs about 5-6 hours… as all felt works , this one, due to its size it's even more prone to touching, exploring, even hugging!! It is meant to be hung in a space, so it can also spin around its axe. the best is to be hung in this way, that the end point is about 50 cm from the ground. delivering is no problem, because felt is not breakable- it will be delivered wrapped in bubble-wrap and in a card-board tube. For its maintenance - if necessary - I recommend: place it in a bath, dip it in a lukewarm water for a while, then gently rinse it with a shower. let the excess water run out by hanging it upside-down and then gently wrap it in a towel to get out the rest of excess water and dry it in the air. basically, it's like washing your best woollen pullover! The sculpture is signed at the bottom : SABA 2018
Sculpture:Textile on Soft (Yarn, Cotton, Fabric)
Size:23.6 W x 78.7 H x 23.6 D in
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.
I'm interested in many things and I'm on the constant search of new ways to share my thoughts in the visual language, but also stories, universal human issues, issues concerning women and many more…. Therefore I'm also changing materials and forms in order to express this things! I think I don't have a particular style, because everything is subordinated. to the subject I'm interested in. I tend to shell the majority of »feeling« from the material itself. I use a huge range of materials:from classic sculpting materials (predominately clay, stone, glass bronze) to more contemporary ones, like plastic, fibre, felt, found objects, liquid….. to non-material mediums ( video., sound or animation). If I feel vulnerable I might choose felt to work with ( for "protection"), next time,if I feel like »falling to pieces«, I might decide to make sculptures made of multiple pieces that need to be assembled, or when I'm happy and content, I choose clay or metal, to show how strong I'm feeling…. So, there's clearly lndirect physical evidence of my mood/state on material itself!! I'd divide my work on two main complexes: The intimate (smallish) one and the public / large one. In the past I was interested in figure but also the fragments of the human body like hands, legs, bellybuttons, ears….although I don't work very much on figure nowadays I still return back to it now and then, because it's somehow the eternal source…. as it's for material:clay! I'm particularly interested in space, so I often work on site-specific installations. I love to work in remote places somewhere in the nature. For me it's more important the place , where I work, then how many people will actually see this work at the end…. That counts predominately for the public concept. When I work In small scale , the surrounding space is less important – although,it's never totally excluded- there I put a lot of emphasis on detail. I deal a lot with symbols and surrealistic visual language sometimes my art is very minimal, but sometimes rich in form and colour…There was time when I was quite influenced by Magritte, but also Cubism( after my travel to Africa in eighties) and Brancusi. In time of study also new English sculpture had huge influence on me , like Deacon, Kapoor, Woodrow, Caro , Cragg and many others from that generation! My art usually refers to ( personal) past events or premonition of the future or has critical, even sarcastic note to the modern society.
Artist featured by Saatchi Art in a collection
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