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France
Painting, Spray Paint on Canvas
Size: 35 W x 45.7 H x 1.2 D in
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* Painting on streched linen canvas 50F / 116 H x 89 W x 3 cm (45,66 H x 35,03 W x 1,18 in). * 'AAA XVI.XXIII.MMXXIX' is an abstract representation of the AAA (Agricultural Adjustment Act) law of the United States entered into force during the Great Depression as part of the policy of New Deal by Franklin D. Roosevelt in 1933. The law which aimed to restore value to farmers' crops in order to stabilize their situation, which has been constantly deteriorating since the early 1930s. I try here to represent agriculture by these stylized forms of seeds in a chaotic space which tries to find a harmonious structure. *** * 'AAA XVI.XXIII.MMXXIX' est une représentation abstraite de l'AAA (Agricultural Adjustment Act, en français « Loi d'ajustement agricole ») loi des États-Unis entrée en vigueur en pleine Grande Dépression dans le cadre de la politique de New Deal de Franklin D. Roosevelt en 1933) la loi qui visait à redonner de la valeur aux récoltes des agriculteurs, afin de stabiliser leur situation, en constante dégradation depuis le début des années 1930. J'essaie ici de représenter l'agriculture par ces formes stylisées de graines dans un espace chaotique qui tente de retrouver une structure harmonieuse.
Painting:Spray Paint on Canvas
Original:One-of-a-kind Artwork
Size:35 W x 45.7 H x 1.2 D in
Frame:Not Framed
Ready to Hang:Not applicable
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. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:France.
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France
The work of Marijah Bac Cam questions the Memory of the Living through the Languages of the Feminine Principle (creative principle of Nature) by means of drawing, painting and increasingly photography and video. What does this chaos of fullness and emptiness mean, enhanced with dots, curves, golden wefts and gestural writing? In the artist's painting we perceive a Living being organized before our eyes, starting with the diffusion of black ink. These dark masses mingle with another color to symbolize the different elements, air, water, fire, earth, ether. Suddenly an organic mesh forms on the surface, connected to the misty depth. It is a question of reversal, as if to lead our gaze towards an inner world, that of the organs, tissues, vessels of an unrepresented body. These drawings express more sensibly an intuitive word in a vegetal and vibratory atmosphere that are our buried memories. They are the representation of the original past in a form that is no longer mental but metaphorical. Graffiti sometimes float here and there, like a palimpsest as if to inscribe a forgotten verbal dimension and question the meaning of forms. Her work evokes images that are almost figurative but difficult to identify. It's a question of everyone's point of view, seen from the sky or underwater, in macro or even in a wide shot. This collective memory seems to define and tell terrestrial and extra-terrestrial landscapes. Does Nature have a universal language that hides in our memory?
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