![]() All mounting is fully reversible, without any potential damage to the art. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Promotion codes cannotĪll prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. Including commission, shipping, and taxes and duties when applicable. Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price Purchases made from all auctions, including benefit auctions, are subject to sales tax. In the case of multiple bidders placing the same maximum bid, the first person to place the maximumĪmount takes precedence as the highest bid until another bidder exceeds the maximum amount.įor Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price.įor Artspace Benefit Auctions, Buyer's Premiums are not applied. If your maximumīid no longer exceeds the current bid, you will receive an outbid notification email, and have the Winning amount is less than your maximum bid, you will pay the current increment. Unfolds, we will increase your bid by increments to ensure you remain the highest bidder. Spend for a work, though this does not necessarily mean you will pay that price. You should always bid the maximum you are willing to It was a very different experience than traveling in China, mainly due to very tight security, a result of years of political unrest, which I have to say added to an uneasy feeling throughout but this huge area has so much more to offer, a unique history of the ancient silk road which is incredibly preserved due to the dry weather conditions, to the highest snow peaked mountains that look as if they were taken from the Swiss alps.įrom the vibrant markets full of spices to the beautifully hand crafted artifacts, and the beautiful scarfed women, it all seemed to belong to a different time and a magical place.Every bid submitted is treated as a maximum bid. “She was right in many aspects and I could find quite a few similarities between the Uyghur people and people from the Middle East.” Their look is closer to Israeli than Chinese she used to tell me and that I would like the food. I was specifically interested, as my wife, although mainland Chinese, was born in Xinjiang, in Korla and I have heard much about the Turkic peoples where she was born. It was really quite remarkable, a once in the life time experience. This invitation also gave you the opportunity to visit the province of Xinjiang which is home of the Uyghur, an ethnic minority that primarily practices Islam. You were recently invited by the Museum of Contemporary Art of Chengdu in China to a group exhibition under the title “Memory Goes As Far As This Morning”. For me the act of erasing is as important and positive as a mark making. I’m interested in reversing this process, everything else comes first and then leave an opening, a question mark. ![]() We ‘read’ each other and any human portrait, by first and for-most our facial features and then everything else. Our mannerism, style, the way we dress, walk etc. “I was and still am fascinated by how much information we gather between us that is outside the face.” As my work shifted back to portraiture, I found out fairly quickly that I can describe what I need without the features. Painting old toys I was reacting to the physical erasure of the doll features after years of being handled and played with kids. When I began erasing the facial features it was something altogether different. In my work I try to strike a balance between the general and the specific, the ‘public’ and the ‘individual’, which I find fascinating. Growing up I was fascinated by the little figures in my grandfather’s landscape paintings just little blobs of paint to describe a face, limbs or body. More than anything it’s an abstraction tool, a way I enjoy directing and dissecting what I see and the surface of the painting. What is the reason, the intention behind these portraits without features? Being a sort of « craftsman of memories », each of your paintings has this incomplete detail of faceless human beings. ![]()
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