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Size: 12.2 W x 12.2 H x 8.3 D in
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Dear White Cube, Secondary Spectrum: violet (purple) Installation based on a pattern 3D and Fibonacci Sequence architecture square of 31 cm and sides 8/13/21cm acrylic on MDF(found materials) This sculpture is part of an installation called 'Dear white cube' reflecting on the necessity of seeing Art in Gallery and be conscious about the viewer. The point is to establish color chart to use depending on surface or site specific. The goal is to facilitate color use and being able to deploy it depending on the space, light and interactions needs. Of course, as we talk about space I studied geometry and physics. Therefore I tried different sequence numbers and applied them to 1 dimension sketches, then 2D, and finally reach 3D. Once the line works was done, you have to care about the light, be conscious about interactions. As i said a long Time ago, four walls will never tell you that you are wrong. The point is not about being wrong or right but being conscious about space, interactions and proposing questions about a new approach of colors and how to look at it. Making art is always a statement about who or what you stand for. It can be minor or unconscious but it happened to reflect the same position you have in your life, wether you want it or not. I started this SERIE of installations few months ago. By the time I was working on one of my color theory implying color and surface. The point is to establish color chart to use depending on surface or site specific. The goal is to facilitate color use and being able to deploy it depending on the space, light and interactions needs. Of course, as we talk about space I studied geometry and physics. Therefore I tried different sequence numbers and applied them to 1 dimension sketches, then 2D, and finally reach 3D. Once the line works was done, you have to care about the light, be conscious about interactions. The great things about numbers is that you create angles and dynamics without having to questions them. As you know, I m also concerned about colors as lead. I came back to physics and artists using light or spectrum into installations or various works: Olafur eliasson Carlos Cruz Diaz James Turell Dan flavin Ellsworth Kelly ... many artists So the light is composed by the spectrum that we all know. So I decided to be basic (in my way) and that each piece would be a spectrum of each color of the spectrum. Each piece include one color of the main spectrum and then develop the color theory on his own. By the end you have the full spectrum (light) running a 3d installation individually and together. After one was done, I was happy to see the interactions with lights(natural light, artificial, directional) When you learn how to draw, without noticing you recognize light, and 3 dimensional space as a truth. First you create outline to define limits, and the different shadows to define your shape.(highlights, mid tones, projected shadows, complex shadows...) As each piece is based on the same composition, light is crucial. Each shadow is different on each sides or angles according to their composition. One of the goal of this work is to create autonomous pieces that lead you to question the exhibition space. Furthermore, i wish to lead the viewer to ask the same questions about him standing there. We have been counting on light for centuries. But it might not last. Mind the light, mind earth.now. learn more about my work and practice on jessica moritz.com
Sculpture:Found Objects on Wood
Size:12.2 W x 12.2 H x 8.3 D in
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
French-Israeli artist, lives and works in Tel Aviv. Graduated from the fine arts of Paris (ENSBA),LVMH young artist award 2006, TAKASAGO prize 2008. She believes that order in chaos leads to an equilibrium of harmony. Moritz’s corpus of art is an infinite voyage. Her calling never discovers a termination. On a diurnal degree, Moritz is compelled to confront herself personally with the transcendence of light. Light is an exceptional commodity for her, it's something which she adores and desires but also causes agony to her. Enduring the torment she creates with her art objects a utopian architecture (mindscape) where she unveils an unfeasible geometry. Her objects are portals to a dissimilar sphere where the mind absconded and is confronted with a clear result of a never materializing entity of art. The inevitable consequence is a painted geometry that provides balance and an optical euphony in a very intelligible manner. Her art is inspired by former Bauhaus artists like Josef Albers. Moritz lives in Tel Aviv, where the traces of this movement are still to be found in the city architecture. Albers inspired Moritz to consider herself profound with the theory of color. Her inquiry led to an inspirational mission to flourish a very own attitude to this optical material. Moritz believes in a sustainable way of producing her art. In consideration of climate change, she reclaims materials to use the existing. She gathers material on her trips and transforms them during a magical process into a new purpose. She tries to avoid a replacement out of senseless consumerism. co-written with J. P. Wolters Selected Artist part of New Voices, Saatchi ART 2021 special Edition Catalog Meet 100 Artists Who Are Changing the Conversation.
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