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Joe BoruchowVanitas: The Deluge - Full Series of Four2008
2008
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
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About the Item
American artist Joe Boruchow's hand-cut paper series, "Vanitas: The Deluge," is custom float-mounted over satin to give the shadows of the details visibility. Each piece in this tetraptych is in a separate 26½”h x 23¼”w archival custom frame with UV protective, low-glare, museum-rated glass as pictured.
Please note: This listing is for the full series of four pieces pictured, which are sold together as a tetraptych/quadriptych piece of artwork. Please send us a direct message if you would like to see additional images of the artwork.
Joe Boruchow is also well-known for his uncommissioned street art, creating large wheatpastes from his original paper cutout, fine art works. He has created many prominent, commissioned, public works as well through programs such as Philadelphia Mural Arts. Boruchow has given artist talks about his work and process at prominent institutions such as The Barnes Foundation and The Philadelphia Museum of Art. His work is in many notable collections, including those of artists Isaiah Zagar and Zoe Strauss.
- Creator:Joe Boruchow (1976, American)
- Creation Year:2008
- Dimensions:Height: 26.5 in (67.31 cm)Width: 93 in (236.22 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Philadelphia, PA
- Reference Number:1stDibs: LU1882546842
Joe Boruchow
My black and white cutouts are an evolution from when I used stencils to make posters for my band, The Nite Lights. About ten years ago, as my technique improved, the stencils became too fragile to work with. I started to simply photocopy black paper cutouts and found that I was able to get much more coverage pasting and stapling these around town than I had with the stencils, all the while, retaining a fine art object. My process varies with each paper cutout, but there are some things that remain consistent. From thumbnail sketches I develop more detailed studies that I then redraw on black paper paying special attention to the limits of the medium. In a paper cutout, all the black must connect (this makes things like belly buttons challenging). Then I excise all the white space with an Xacto blade, paint out the remaining pencil marks with black spray paint, and scan the cutout. From this I have large prints made, which I use for my large-scale installations. The longer I have been doing uncommissioned public art the more I try to find architectural spaces to frame and add context to my work, ultimately, integrating it into the environment. In a gallery, however, one can to see the original cutouts from which the larger installations are made. Their intricacy and smaller scale often surprise people, giving them a new perspective on the public / private aspects of my work and emphasizing the blend of craft and concept that I attempt to achieve.
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