VIEW IN MY ROOM
United States
Drawing, Ballpoint Pen on Paper
Size: 12 W x 15 H x 1 D in
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This is a part of my "Diner of Lost Souls series. I'll post this review: In this latest addition to Gregg Rosen’s renowned ’Dinner of Lost Souls’ series, we once again see the artist self portrayed as a menacing, intimidating figure. Rosen has long been recognized for the journalistic honesty of his work. In prior self portraits, he has depicted himself and other subjects in vulnerable, and sometimes broken states. However, in recent works, the viewer witnesses a much more confident, and some might say imposing figure emerging. It is as if the artist has completely abandoned self reflection and replaced it with self acceptance. The technique displayed in recent works appears to have become bolder and more deliberate. When closely observing the linear work of these drawings, one experiences the sensation of a nervous, uncontrollable energy. As with most of Rosen’s figurative works, it is impossible not to connect the process with the emotion. The lure of the ‘Dinner Lost Souls’ series is it’s exploration into the complexity of human emotions. This particular drawing leaves the viewer asking if self confidence and a lost soul can coexist simultaneously. -Alvin Pettit
Drawing:Ballpoint Pen on Paper
Original:One-of-a-kind Artwork
Size:12 W x 15 H x 1 D in
Frame:Black
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 States.
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United States
I am an artist who grew up and still currently lives in the New York area. I believe I have been affected by the vertical buildings and the compositional grid of the city. While I paint and draw both abstractly and realistically, I'm most fully engaged in an ongoing abstract series entitled,"Structural Landscape.” My aesthetic is one of problem solving the picture plane, and its logical and organic resolution. I believed in a less subjective light that “good Painting” exists in the formal language of painting: shapes, edges, color, composition, brushstroke, etc. It is a language and dialogue that links such great and disparate artists as Vermeer, Hopper, Mondrian, DeKooning, Cezanne and Diebenkorn together. Their work, and this "way of seeing", inform my work and creativity.
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