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United Kingdom
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Fine Art Paper
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8 x 10 in ($40)
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White ($80)
Ian Robertson's work over the years has been concerned with the ways in which places, spaces, and events captivate, delight and disturb us. How they evoke memory, expectation and desire. In some respects similar to the way in which a melody or fragrance has the capacity to turn back time and bring the past forcefully into the present. He has worked in a wide range of media including painting, printmaking, sculpture and installation. This return to landscape in the series ‘Evidence of the Senses’ gave him the opportunity to use watercolour, a medium that he is at home in and which captures the fluctuations of light, the ever changing nuances of colour and the passage of time. The work is in acrylic on watercolour archival paper, available in a perspex box frame. The work is ambitious in the use of the medium and method of approach, moving freely between abstraction and figuration it captures the complexity of our response to place as it is lived and felt. Between our direct observations and our more subjective experience of landscape.
Print:Giclee on Fine Art Paper
Size:8 W x 10 H x 0.1 D in
Size with Frame:13.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
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. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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United Kingdom
Ian Robertson was trained at the Edinburgh College of Art and the Royal College of Art, London. He is the recipient of numerous awards including the Helen Rose Travelling Scholarship ECA, Sir Robin Darwin Scholarship RCA, John Minton Scholarship RCA and the Pernod Arts award. His work over the years has been concerned with the ways in which places, spaces, and events captivate, delight and disturb us. Robertson has worked in a wide range of media including painting, printmaking, sculpture and installation. The work is ambitious, moving freely between abstraction and figuration it captures the complexity of our response to place as it is lived and felt. Between our direct observations and our more subjective experience of landscape. Places are saturated with histories and competing narratives. They are also psychological spaces of the imagination where the border between the real and the virtual becomes thin and permeable. It is at this point on the cusp of the real and the virtual that painting generates its effects/affects.
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