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United Kingdom
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Fine Art Paper
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10 x 10 in ($40)
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White ($80)
The artwork is 700mm x 700mm UV printed onto Aluminium dibond. This is the original picture that was part of the Oxford exhibition in 2013. Supplied ready to hang, with certificate of authenticity. I had tried to capture this image a couple of weeks before but I was not happy with the result. The photos for this image took 36 minutes to capture. Standing on the corner I could not believe how many cars, bikes, busses and people there were. Every once in a while I would see a gap and take a picture, then have to wait for a gap to open up next to it. The sparsely populated result belies the busyness of the day. There is a crowd of people by the tower and Cornmarket, there was a time many years ago when I could not bear a person to be in one of my shots. I now view them as human scenery. An earlier version of the image featured much heavier crazed lines, almost to the point it was abstract. I had to as the question, “Have I gone too far?”, I was torn between two responses: “If you have to ask if you have gone too far then you haven’t,” and “if you have to ask if you have gone too far then you have.” In the end I decided to be more naturalistic and show some more of the details that it had taken me so much time to capture The scaffolding around the tower in some way fixes it to a point in time and also emphasises the honesty of this approach to photograph. I also love the traffic light running from near the centre to the left. I think that the indigo reflections are the shiny black of the paint reflecting the sky. The crazed lines just idly lie around highlighting the edges.
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
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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United Kingdom
I am ownimage. The God who created the world created mankind in His own image. Creativity falls on an artist like mana from heaven. I own my creativity, I will take all that I can, fall on me. I am ownimage. I was born to wonderful parents in Watford a little north of London. I now live in Stroud in Gloucestershire where with my wife we run Fresh Ground Cafe and B&B. It gives me enough space for a gallery and studio and generally what life is going to be like in a post-employment world. What does that mean for people's identity and sense of self worth. One of my earliest memories is being in St Pancras hospital and my parents visiting and bringing a camera as a gift. I remember waiting for slides to come back in yellow boxes only usually to be disappointed. Now everything is digital, instance response, instance change, infinite opportunity for disappointment. My photography almost over took me and prevented me from being who I was supposed to be. I was chairman of Stroud Camera Club, and a judge for the Western Counties Photographic Federation, but it was not enough. To merely be a recorder of the truth is not enough, a mere scribe. I need to be an interpreter, a guide to a deeper way of seeeing. Perhaps I see the world strangely. I do not see the world full of color and shade as if the retina of the eye were a sensor of a camera. The ghost in the machine spins these nerve impulses, these echos of rays of light, and creates an inner world full of shape an form. 'Perception' was the name I gave to my first major project in trying to explore this. The defining question was 'how can a picture of a field of poppies show the fieldiness of the field and the poppyness of the poppy?' In real life we experience both. The images that came out of this were strange geometric transformation, sometimes from 360 degree image captures. The aim was to redefine the perspective of photography, rather than capturing the drama on the stage it sought to capture the grandure of the theatre. Rather than capturing what was in front of the lens, it captures where I was when I created the image. The images that came out of this process, this laval stage, were soft with so many images, so many pixels were fighting for their voice, that clarity became cacophony, I was not happy. Then I realized that the world is not about color. My desk is one color the carpet is another that is how my eye can tell them apart.
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