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8 x 10 in ($60)
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White ($80)
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The original is not for sale through Saatchi. Please find my artist website (or order a print here) instead Art marker and pigment ink pen on acid free recycled content drawing paper. Created by drawing on one side of the paper and letting the ink bleed through (controlled using pressure and by holding marker in one place). The drawing was then continued and finished on the reverse side of the paper. The title reflects the phenomena that give the drawing its unusual visual qualities - the diffusion and capillarity that draws ink through a mat of paper fibers. I have always been fascinated by the flip side of marker drawings, and decided this would be a good experiment to try to meld marker with fine lines in ink.
Print:Giclee on Fine Art Paper
Size:8 W x 10 H x 0.1 D in
Size with Frame:13.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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I am offering a selection of Abstracts and abstracted Science theme work on Saatchi. Please search for me online for my Landscape and Tree of Life bodies of work. I often ask myself whether I'm a physical scientist who also paints, or a painter who has studied a bit too much physics and chemistry. Physics and Chemistry have become a big part of how I model and understand the world. I approach paint texture in terms of it's viscoelastic properties, and color in terms of pigments and their spectra. If you take a cadmium inorganic red and it's organic substitute, gently tweak them so they look almost identical in indirect daylight, will they behave differently in incandescent light? Sunlight? Late afternoon light? (controlled lab light?) Unlike people, fruit, landscapes and other traditional painting subjects, technical ideas and objects don't have an "appearance" in any normal sense of imagery. They're imagined and depicted as visual ideas that guide us through complex phenomena. For example what do like bonds in molecules really look like? Or the quantum not-quite-existence of high vacuum-spawned subatomic particles? The softly dancing dynamic structures in complex fluids? What about "things" that are too small and too delicate for even the best electron microscopes (TEM - SEMs are toys)? I've found that many images scientists create serve as visual similes to data and hypotheses, and as visual metaphors for complex and often highly abstract concepts. These metaphors and their stylized interpretation inspire and guide my "abstract" work.
Artist featured by Saatchi Art in a collection
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