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United Kingdom
Sculpture, Stone on Stone
Size: 16.1 W x 27.8 H x 4 D in
Ships in a Crate
'Relic' explores the expressive potential of the inherent stone surface texture and how that can be utilised for maximum descriptive power, and for enhancing meaning, when in conjunction with particular subject matter and contrasting cuts and surfaces. Despite the provocative title and the initial visual impact, the thinking behind Relic was not intended to promote a view which is either pro or anti monarchy. The sculpture was actually made in 2002 when, in the UK, there was some concern that the currency would change and the British Pound would have to give way to the Euro and so also fuelling a debate about national identity. Consequently, it is much more of an observation about the changing perception and relevance of otherwise long-held, traditional Establishment values, and how those core elements of a nation’s fabric, structure and currency can get eroded / de-valued through fresh ideas and the accumulated experiences of changing social beliefs and different political views. At one time, the population of a country would not know much at all about the activities and behaviour of monarchs and heads of state. Scandals and controversial decisions etc could easily be kept secret and out of public view. Furthermore, when coinage was first introduced it provided the only image, or common symbol, of a monarch that most people would get to see. The growth of media through the ages and all-consuming public curiosity have changed all that. Relic, by comparison, seeks to present a ‘flawed’ image as being something closer to the truth. The presentation of the work also seeks to address the pomposity with which the anachronism of some traditional aspects and pageants appear to us now, unchanged and possibly much less appropriate for modern society. An aluminium rod is fixed into the disc which forms the main focal aspect of the sculpture. The rod and disc is independently fitted safely, but loosely, into a separate rock allowing the disc to be easily turned around by hand. The disc of carved limestone itself only measures 12.75 x 12.75 x 2.5 cms but when mounted into the base the whole sculpture becomes 70.5 cms high and 40.8 wide x 10.2 cms deep. Peter Maris April 2017
Sculpture:Stone on Stone
Original:One-of-a-kind Artwork
Size:16.1 W x 27.8 H x 4 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
I have been working with stone since 1987, gaining experience first in a commercial and industrial environment and then later, for 10 years, as a stonecarver engaged with prestigious heritage restoration work at York Minster. However, the background to my work is rooted in Fine-Art having studied at St Martin’s School of Art for a BA Hons 1977-80 and then later for an MA at Leeds Metropolitan University 1998–2000. My practice has therefore developed as, and been enhanced by, the combination of my extensive experience in the stone industry and by my art school training. Consequently, I enjoy a wide variety of work including fine-art stone-carving, public art, letter-cutting, designing and making bespoke memorials and working on specific individual commissions. I have always been fascinated by the actual creative process itself and by the transformations that are made along the way regarding the physical appearance of the material, the structure of the concept, and by the re-interpretation and re-appropriation of images and/or contexts in order to present new meanings or questions. These key background elements have always provided a strong direction to my approach to practice and continue to inform my fine-art thinking and preparations for current sculptural proposals. My experience and training and the broad nature of my work to date has taught me to seek out the most fluent ways to interpret a wide range of subject matter. I sincerely hope that the work that I intend to do in the future will continue to explore this diversity of issues and emotions through an equally broad variety of visual solutions and genres.
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