VIEW IN MY ROOM
United Kingdom
Painting, Acrylic on Wood
Size: 15.7 W x 20.5 H x 1 D in
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This work is a transcription of the Van Eyck portrait, presumed to be a self-portrait, at the National Gallery in London. Als ich kann is inscribed into the frame, literally 'as well as I am able' or perhaps 'because I can', more fitting in contemporary times. I started painting this overwhelmed by Van Eyck's skill in painting the turban but gradually my reference to this part of the painting was reduced to a single diamond of dark red.
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:15.7 W x 20.5 H x 1 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: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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