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Footrace No. 4 Painting
United States
Painting, Acrylic on Other
Size: 28.6 W x 21.8 H x 0.1 D in
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About The Artwork
My “Footrace” series paintings each depict a set of three running male figures. Why these people are running, and the nature of their relationship to each other is not defined. Do we witness a moment in a typical sporting event, or are we presented with a metaphor for one’s passage through life, a continuous movement through time and space from birth to death? Perhaps this “run” traverses a long passage that calls for determination, courage, endurance, and resourcefulness. Are these men friends, rivals, or simply individuals progressing along their own paths to their own ends? The pleasure of the artwork is partly in the possibility of multiple readings. And since this is a painting, the pleasure is also in the formal rewards of movement, balance, and color, to name just a few of PAINTING’s delights. The cutouts are made of thick archival Bristol board. They are affixed to the wall with 2-sided foam mounting tape. A full-size template is provided to ensure proper placement of individual pieces. The cutouts are made of thick archival Bristol board. They are affixed to the wall with 2-sided foam mounting tape. A full-size template is provided to ensure proper placement of individual pieces.
Details & Dimensions
Multi-paneled Painting:Acrylic on Other
Original:One-of-a-kind Artwork
Size:28.6 W x 21.8 H x 0.1 D in
Number of Panels:3
Frame:Not Framed
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: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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