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material: inkjet, acrylic, paper, permanent marker, and spray paint on wood panel. ****** PLEASE NOTE***** - this work is smaller than 48'' x 48'' and will be shipped securely in a box with industrial packaging. I was unable to choose this option on the website whilst uploading so the price of shipping will be less. ************ I can ship in a crate upon request. Are you a simulated being? Do you have free will or are you at the mercy of some supreme intelligent programmer? Elon Musk would answer ''Absolutely'' to the former and a '' Heck no'' and a ''Hell yes" to the latter. Musk thinks ''“The odds that we are in base reality is one in billions,” Other credible scientists and philosophers state that there is over a 50-50% chance that we are indeed simulated. If so, our afterlife, whatever that means, will be simulated as well. Here is a depiction of a simulated hell. I wish you a good day but that may very well be decided by your programmer. The painting also explores the simulation argument by pitting digital painting vs handmade analog painting.
Print:Giclee on Canvas
Size:16 W x 20 H x 1.25 D in
Size with Frame:17.75 W x 21.75 H x 1.25 D in
Frame:White
Canvas Wrap:White Canvas
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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Born: Edmonton, Alberta, Canada. Living and working in Harbin, China. Artist Statement: I have always understood painting as a medium that embodies a thought process which depicts an accumulation of marks over a period of time. My paintings are a record of actions and reactions which often result in explosive, fractured, and chaotic images. I am interested in paintings that need to be visually unpacked; to discover which actions or marks came first and how they were applied and constructed. I aim to create paintings that allow a viewer to sift through collage-like forms and references to painting's history and visually deconstruct how the painting was made. I am fascinated by the ways in which children and adolescents create images. I currently teach English as a Second Language (ESL) and art lessons to students from grade one to nine in China, and I am impressed by how direct, uninhibited, and honest they are in the ways in which they create their images. The way they freely create their images reminds me of my interests in the Surrealist technique of automatism or “taking a line for a walk”. The brutal and direct manner in which the kids carve out their subject matter with pencil, crayon, or paint relates to my interests in the various Expressionist movements. What interests me most are the cruddy drawings scrawled on the back of homework assignments that I collect from the “bad students” who do not pay attention during my English lessons. I look at these drawings and wonder if they are merely created out of boredom or are attempts at rebelling against such a strict upbringing and controlled society. I am also fascinated by the large, temporary walls built around construction sites I see while walking to and from work. The walls are well abused with graffiti, splashes of paint, footprints, and spit. I find the history of these marks and the savageness of the surfaces beautiful and look at them as though they are paintings. As with the children discussed above, so too does painting provide me with an outlet and a way to freely explore the confusion and rebellious pent up energy inside me. It satisfies my urge to experiment with making and/or destroying something. Painting also provides the most immediate and direct way to create an image of something that I cannot directly perceive in the physical world.
Artist featured by Saatchi Art in a collection
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