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The Didcot Interpretation Painting
United Kingdom
Painting, Acrylic on Wood
Size: 20 W x 26 H x 2 D in
Ships in a Box
About The Artwork
I’ve often wondered why I’m drawn to railways. One explanation is they were the playgrounds of my youth, places of freedom, adventure, larking about. Am I still larking about? Probably. Maybe my interest stems from the fact that, if I wait long enough, a train will probably come along. That got me thinking about probability. I remember once trying to read a book on the subject. It explained the Copenhagen Interpretation of quantum mechanics. I was about a page and a half in when it struck me the topic was perhaps not for the Master of 27 Gorwell, Watlington, Oxon. I wish I’d stuck with it. It had a noble cast: Niels Bohr, Werner Heisenberg, Erwin ‘Magic Cat’ Schrödinger. The book came back to me when I named this picture, which is based on a scene at Didcot Railway Centre. Hence the pretentious title, ‘The Didcot Interpretation’. If I wait long enough, a train probably will come along. Quality by association as they used to say in the ad business. What say you, Sigmund? NB: Though described on this site as 'acrylic on wood', this work is 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:20 W x 26 H x 2 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
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 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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