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Mancunian Misinformation Triptych - Three 24x16in Aluminium Panels Photograph - Limited Edition of 1
United Kingdom
Photography, Color on Aluminium
Size: 60 W x 24 H x 0.2 D in
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About The Artwork
From a new series shot at night in the centre of Manchester, January 2016. Using 35mm film and a 1980s point-and-shoot zoom camera (both pushed to the limits of their capabilities), the urban environment is reconstructed with strange reflections, muted colours, deep shadows and flashes of brilliant light. C-Type prints from 35mm colour film negative scans. The triptych comprises images 6, 7 and 8 from the Mancunian Misinformation series, and the individual prints are taken from the total edition of 25 for each photograph. Triptych prints will be identically numbered (Currently 1/25 is available). Three aluminium-mounted C-Type prints, each 24x16 inches, designed to be hung 4-6 inches apart to create an overall artwork size of 24x60 inches approx. Each panel is hand-signed and numbered on the back.
Details & Dimensions
Multi-paneled Photography:Color on Aluminium
Artist Produced Limited Edition of:1
Size:60 W x 24 H x 0.2 D in
Number of Panels:3
Frame:Not Framed
Ready to Hang:Yes
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
Justice Hyde is an emerging photographic artist based in North West England. Largely self-taught, his work incorporates multiple strands: explorations of mortality through abstracted images of deteriorated surfaces both natural and man-made; themes of psychogeography, resonance and dissonance in the urban, suburban and rural landscape; and examinations of sexuality, identity and self-actualisation amid the fluid moralities and new paradigms of the data age. The strands are unified by an interest in the convergence, divergence and intersection of perception and reality. Having begun in photography by using, developing and printing black and white film, he moved to digital processes, but since 2014 has increasingly returned to analogue photography, with 35mm, medium format and Polaroid film now central to his practice, alongside DSLR and even smartphone cameras. In most cases little or no post-processing is used. This diverse approach and discipline ensure that the image never becomes secondary to the tool or technique.
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