VIEW IN MY ROOM
United Kingdom
Painting, Acrylic on Aluminium
Size: 31.5 W x 25.2 H x 0 D in
Ships in a Crate
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This painting is in part inspired by Bomberg's painting Ju-Jitsu but, unlike Bomberg's painting, there is no sense in which it is figurative. Just as Bomberg's Vorticism literally sought to draw the viewer in, to confuse the viewer, this painting also hopes to draw the viewer in through optical illusion. The painting is on aluminium which forms an important part of the composition.
Painting:Acrylic on Aluminium
Original:One-of-a-kind Artwork
Size:31.5 W x 25.2 H x 0 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
I make paintings. An instinct for geometry and pattern-making, combined with a fascination for three-dimensional effects worked onto the flat plane of the canvas, typify my practice. My most recent works are painted on aluminium, which has led to a more general change of approach to surface. Metal supports have long been used by artists and the smooth flatness necessarily requires a particular method of working: a need to organise in advance, spontaneity ceding to calculation and precision. Part of this is that some of the aluminium surface is left unpainted, a critically important part of the painting as the surface reflects light unlike a linen or cotton duck canvas. There is an interplay between the pale reflecting shapes, and those that are painted. The resulting work does not directly represent a subject. By agitating the surface, the painting tends to extend into the space between the viewer and the painting, which creates a mood or non-representational response to a precise external experience. My way into abstraction was through the topography and field shapes of North Yorkshire and, although my work is no longer a direct response to landscape, the sharp corners of geometric shapes still correspond to fields enclosed by dry stone walls seen from a distance and at an oblique angle. Previously my work was multi-layered, the original painting obscured by gesso then rubbed back to reveal its origins, a painted palimpsest. Now my work is situated entirely in the present, not referring back but engaging directly with the ‘current’.
Artist featured by Saatchi Art in a collection
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