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View In My Room

230205_B Print

Jonathan Spencer

United Kingdom

Open Edition Prints Available:
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10 x 10 in ($40)

10 x 10 in ($40)

16 x 16 in ($70)

24 x 24 in ($120)

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$120

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2

ABOUT THE ARTWORK

This is one in a series of Digitally Remastered Drawing prints that are drawn from around the area where I live. It is an area of outstanding natural beauty where the Thames has cut through the Chilterns creating a rolling chalk landscape before the river hits the clay basin on which London sits and finally the sea. This is an ongoing project with currently forty-six finished artworks in the series and there will be many more, but I have selected the best eighteen for display, reaching back to the autumn of 2022, but as the year progresses and I draw more I will replace the older ones or ones that I feel have been superseded with new ones on an ad hoc basis. The idea is to create a collection of landscapes that rolls and evolves with the seasons. My method of working is to create two drawings ‘en plein air’ the first is a black and white drawing and the other is in colour. Back in the studio I use the black and white drawing to create a depth map in a computer graphics programme and then use the colour version to paint the depth map with colour. This provides a layer of miss-registration and additional texture to the drawing. The final version is rendered in a virtual glass cube and the resulting print is digitally printed on artist quality paper at around 31.23 centimetres square (the same size as a vinyl LP cover). The original artworks are not for sale, but they are available as unlimited edition prints at various sizes from this website.

DETAILS AND DIMENSIONS
Print:

Giclee on Fine Art Paper

Size:

10 W x 10 H x 0.1 D in

Size with Frame:

15.25 W x 15.25 H x 1.2 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I studied fine art painting in the 1980s and then went on to do a master’s degree in computer animation, since then I have been constantly involved in the television industry (mainly in the design of virtual and augmented reality) and have used my time outside work to explore my interest in time-driven art works. I look to apply elements of chance to my work. The serendipitous fracturing and distressing of images has been with me for a long time, I was buying random vinyl records, sanding them down, photographing and recording them and then inking them up to print at college and that spirit lives on. Mostly these days I write software tools to apply synchronicity and use samplers rather than audio tape and a razor blade. However, that systematic approach to deconstructing audio forms with white noise, effects pedals and re-sequencing led me back to drawing as a primary form of self-expression, but I still need barriers to obstruct the process of looking and mark making. In part I have achieved this writing software tools, but the hunt of primary source material led me back to drawing. The creation of the two halves of an image ‘on-plein-air’, the depth matte in black and white and the colour pass, gives me that excitement of never quite knowing what you until the two are combined and you render it.

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