VIEW IN MY ROOM
United Kingdom
Photography, Digital on Aluminium
Size: 33.1 W x 23.4 H x 0.1 D in
This artwork is a still photograph taken during the shooting of a video work with the same title. The piece in its essence is about the breakdown of communication within a love relationship. The curious muzzle adorned on the male figure further symbolises an inability to express. The scene takes place in a hotel room. The video work also features a female at the opposite side of the room stroking a rabbit who is nestled on her lap. The full video which takes place over two side by side screens and this still image capture both capture the strangeness of a David Lynch film, filled with a sense of stillness, anticipation and risk. Fun Fact: The location for this photograph and the video work was a small curious boutique hotel in central London where every room was differently themed. This room was The Flower Power Room.
Original Created:2009
Subjects:Cinema
Photography:Digital on Aluminium
Original:One-of-a-kind Artwork
Size:33.1 W x 23.4 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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United Kingdom
Michael Gurhy’s work “is small-scale work but potent in terms of emotion. His work addresses youth culture but evokes a knowledge of the unforeseen, of premonition” - Francis Morris, Head of Collections International Art, Tate Modern & Enrique Juncosa, Director, Irish Museum of Modern Art. Gurhy’s work could be categorised between Freud's two fundamental drives of Eros (The life instinct, which include sexual instincts and the drive to live) and Thanatos (the drive of aggression, sadism, destruction, violence, and death) From a psychoanalytic viewpoint the work is confronting attachment and trauma, childhood fears, fear of abandonment and ultimately the fear of death while transience, beauty and loss read as a subtext. Blurring the lines between fantasy, reality and biography, the work takes on an ‘otherworldliness’ where anthropomorphic animals are messengers and the male body a psychological landscape exploring the corporal and the transcendental. His drawings are raw and reactionary exposing emotional fragility and moments of tenderness hidden beneath confident lines with a violent use of colour. In his sculptural work the visual language of religious iconography is disrupted and reimagined through the incorporation of fetishised objects, personal artefacts and fairytale imagery. Visually arresting and emotionally charged, his photographic and video based works reflect a background in painting and an affinity with the visuals of Christian Art and French Cinema, their strong sense of narrative link to the other mediums within the scope of his multidisciplinary practice.
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