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Canvas
14 x 21 in ($258)
Black Canvas
White ($150)
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‘Fassade’ 1906-2021 Once, in my never-ending rummage of my beloved bookstore (the oldest in Vienna), exploring its damp and forgotten cellar, I came across a box that was filled with old architectural plans and furniture designs, with color lithographies and water color on paper with dating back to 19th-20th century. The artists and designers exemplary attention to every detail caught my eyes. The artistic value undoubtedly went beyond a mere design advertisement. I was reminded of Persian Artist, Sohrab Sepehri, poet of 20th century, who had once written in spring of 1945, that no piece of art can be that complete/perfect that it can not be improved upon. So with some hesitation, realising what the original designer/artist had accomplished, I went to work, painted new artworks inspired by these rare collection, added my elements to them, in a way that once done, it would seem as if these pieces looked always like this had never been apart. Through this method, I was able to give new life to those pieces, and present the designer’s works to the public after over hundred years. And about why I chose the title of these Series “Present Perfect Continuous”: we use present perfect continuous in English for the actions and events that happened in the past and never stopped. It seems that something is being added or repeated again and again. It is similar to what I have done in these pieces.
2021
Giclee on Canvas
14 W x 21 H x 1.25 D in
15.75 W x 22.75 H x 1.25 D in
White
Black Canvas
Yes
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Farshid Larimian (Farshido) is an artist with a chemical & petroleum engineering background, born in Babol/ Iran in 1983, raised in Tehran and has been living in Vienna since 2007. Farshido's first step and fundamental characteristic in his artistic creation process is discovering the aesthetic objects. Objects which are transformed into artistic objects, or used as a part in their construction. These objects are usually left alone, dusted in basements, garages, attics, secondhand stores or flea markets. There are two main differences between Farshido's artworks and the works of artists who use aesthetic objects as well. Firstly, he tries to glorify the historical value of the object and the talent of its creator. Choosing the nickname Farshido (which is the contraction of Farshid and others) is also based on this fact. Secondly, he tries to invite his audience to the opportunity of the aesthetic experience through his artworks. He leads them to a point of confrontation with exaltation, freedom, transgression, and rebellion of the objects, the aesthetic objects whose interactions form the artwork. His artworks sometimes use metaphors and sometimes lead the observer toward a direct sensory connection with the pieces and toward a personal revelation through delaying the meaning.
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