VIEW IN MY ROOM
United States
Painting, Acrylic on Canvas
Size: 93 W x 65.3 H x 0.1 D in
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Borrowing from the nautical tradition of placing carvings of humans or mythical creatures-- most often female in gender--on the prows of vessels, I envision the men and women depicted here as contemporary figureheads detached from their sailing vessels and joined to only a portion of the bow and bowsprit. Like their classic seagoing counterparts, these seafarers must ply ever forward, in this case facing not wind and water but the vicissitudes of life, all the while bearing their individual burdens. The precise nature of each figure's response to this journey is left deliberately ambiguous. Further, if the fragment of the ship's prow suggests a hefty weight as well as a support, it is intentional.
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:93 W x 65.3 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:U.S. Minor Outlying Islands.
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United States
Born: Detroit, Michigan, U.S.A., 1942 Home and studio in Williamstown, Massachusetts I have always been concerned with content. At bottom, I suppose, I celebrate the ability to reflect on life and those elements that please, provoke, or quite honestly disturb me, and to fashion poignant, memorable images from those reflections. There are no heroes or villains in my paintings, only ordinary people attempting to get through trying circumstances, large or small, provoking the actions or inactions that shape their identities. I strive to combine the impact of a human presence with a painterly surface rich in anomaly, one that conveys a sense of transience and mutability, even vulnerability. To that end, you will find somewhat meticulously painted passages set within highly textural areas fashioned with sponges and other painterly manipulations. The larger paintings of the past two decades are unstretched canvas cut-outs, virtually life-size in scale. The shaped forms are usually mounted as ensembles on a white wall, the whiteness serving as a timeless, generalized place where the narrative of the piece unfolds. In some sense these works operate similarly to sculpture, in that the human figure is allowed to communicate a condition of life by the power of gesture and expression and the formal qualities of the surface, exclusive of elaboration of an environment.
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