VIEW IN MY ROOM
Isolation Painting
United Kingdom
Painting, Acrylic on Wood
Size: 25 W x 34 H x 3 D in
Ships in a Crate
About The Artwork
I have often painted and drawn this scene in the Stonor Valley in Oxfordshire. Over the years I’ve watched the building deteriorate, gradually collapsing in on itself. It's sturdy though. The timbers, as usual, lead the decline. The brickwork is still sound and has many more winters in it yet. Inside though, the ghosts have fled. There’s still sign of its original purpose. An old water pump lies seized-up and solid, its weight slowly digging its own grave. In its day, a war or two back, the building was the pump house for a nearby isolation hospital. The hospital’s long gone. Red kites are regular visitors, taking anything fallen. In some years, in spring, the tree behind the building blossoms into the brightest of whites and the field itself becomes a carpet of yellow cowslips stopping passers-by in their tracks. NB: Though described on this site as 'acrylic on wood', this work was actually painted in acrylic on a gessoed panel. The panel is made of hardboard, known in the US as Masonite.
Details & Dimensions
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:25 W x 34 H x 3 D in
Frame:Brown
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
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 paint industrial architecture, townscapes, landscapes, portraits and still life. Many pictures are based on London buildings, some of which - most of which come to think of it - have since been demolished, though not as a direct result of depiction. My interest in industrial architecture stems from the fact that I used to paint outdoors, in front of the scene itself. One of the few places you could do this without being disturbed was on derelict industrial wasteland - brown field sites as they're now called. If you paint in public places passers-by constantly interrupt. They look over your shoulder at what you're doing and say things like: 'My Nigel draws....'
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