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Australia
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12 x 9 in ($80)
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The painting Glacier is part of a series called “Wonderland” which is the result of a 5 month stint in Iceland. I immersed myself in this artic existence. My time was filled with adventures; grand vistas; adrenalin & amazement. There is a rawness and a honesty about life in Iceland which I loved; and not just because of the ever present molten bedrock mountains pushing skyward, sometimes raw and exposed, other times covered in a thick snowy white shroud. The landscape had a profound effect on me, I was constantly floored by its beauty, it effects you almost at a cellular level, your whole body is electrified from the vast powerful beauty, sometimes you even feel like your have been punched in the guts, winded by its magnificence. There is an honesty in the Icelandic way of life – a true and grounded existence. My paintings attempt to capture the vast rugged beauty of this wonderful land in deep winter, at a time when the sun just arced above the horizon, fleetingly filling the sky and landscape with iridescent colour
Print:Giclee on Fine Art Paper
Size:12 W x 9 H x 0.1 D in
Size with Frame:17.25 W x 14.25 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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Australia
Anwen Keeling is a contemporary Australian Figurative Painter "Keeling’s realist paintings capture evocative moments in fictional lives with a reverence for poignancy, innocence and elegance. As an accomplished technician (with both camera and brush), Keeling’s genre of heightened realism reveals an adept skill in truthfully depicting the body in space through the use of linear perspective, velvety colour and tight compositions. Keeling stages her narrative by first photographing and sketching her models in a domestic setting. Each painting’s scene in The Blue Room suite unfolds in the same blue room. The photography is integral to her working process as it captures fleeting moments of light and shadow. Keeling then skillfully employs rich pigments and layers of thin glazes to create her precise paintings. Gillian Serisier aptly states in her 2014 catalogue essay: “Painting with oil on Belgian linen, Keeling is enamoured by the act of painting… she nurtures paint’s ability to describe light through the glowing layers of transparent colour that shimmer with in the rich lead white, umbers and ultramarine of her palette.” (Gillian Serisier, The Blue Room, 2014) Despite her painting’s almost photo-realist quality, Keeling never denies the surface’s painterly quality where by the brushwork and the thin layering of oil and varnish still remain present. The suite of paintings in The Blue Room moves away from evoking a drama reminiscent of Hitchcock and film noir, and focuses on the atmosphere that light and shadow play in transforming the pose of the female nude. Titles, such as Swathe, Enfold and Embrace, suggest the interplay between the light source and the varied poses and angles of the sitter. In Embrace, the strong light through window shutters falls across the model. As the model embraces her legs, the light source mimics this embrace, caressing the sun on her back. An atmosphere of intimacy and vulnerability are captured. As the viewer, we are witness to a private experience, viewing the female in a moment of contemplation, never able to enter the space of the personal. “The work of Anwen Keeling is defined by feminine beauty. It is a world of soft tones, gentle curves and reposed thought. Light plays across a form as a liquid element caressing and defining its own trajectory insensible to pattern and mood. The woman herself: young; beautiful; supple is defined by form.
Artist featured by Saatchi Art in a collection
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