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Chuck ElliottPsyche D / EvH2017
2017
About the Item
Psyche D / EvH is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper.
The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch.
Individually signed and numbered
From an edition of 24 prints, plus 2 APs
Image size ⋅ 80cm H x 80cm W
Sheet size ⋅ 94cm H x 94cm W
.
I drew Psyche D / EvH (event horizon) in 2017, as part of my Current at Catto show. It’s a wildly complex drawing, that freewheeled out of control as it went on.
In its initial incarnation, it was conceived as a kind of giant psychedelic Krispy Kreme doughnut, with a petal like structure containing a wholly fluid series of line drawings, that bubble and move like a 60’s oil light show, in a kind of camomile pink colour.
Looking back from this distance it was either insane or brilliantly exuberant. I’m not sure which.
That piece has yet to be editioned, as I feel it would test the goodwill of any gallery to the outer limits, so it remains on hold, lurking in the back of my imagination, festering really.
There’s an interesting conversation to be had there about what should and shouldn’t be editioned, and who chooses. The simplistic answer is the artist of course, but it’s a much more complex issue than that in reality.
Ultimately I think you have to take your audience with you, as a shared experience in which you travel progressively away from your start point, trying not to leave too many people behind. If you lose everyone along the way, then you'll end up speaking to no one of course, which is in itself an interesting thought to contemplate.
Does an artwork need an audience? Not sure. Simply making work each day has some significant benefits for the artist, so perhaps the answer is no, the work doesn’t need an audience?
Having drawn Sun : Moon : Cosmos {67} a few months earlier, I realised that I could probably steer the Psyche D study in a similar direction, and so started work on this largely gold and blue piece, that like Cosmos holds a separate disc at its core, a centre in the void, surrounded by an explosion of colour and form, that in some way seems almost like a universe or cosmos, surrounding the planet like disc.
The split blue core can be read in a myriad of ways, certainly as the blue pill / red pill question from Lewis Carroll’s Alice books, later referenced in the Matrix, or as a reference to Bill Ander’s Earth Rise photo taken from space in 1968, alongside any number of other dualities that you may care to plant there.
- Creator:Chuck Elliott (1967, British)
- Creation Year:2017
- Dimensions:Height: 37.01 in (94 cm)Width: 37.01 in (94 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Bristol, GB
- Reference Number:1stDibs: LU158128454762
Chuck Elliott
Chuck Elliott (b. 1967, Camberwell, London) is a pioneer of digitally generated art. He claims to have used the first Apple Macintosh imported to the UK in 1984, the same year Apple launched the computers with their now infamous Orwellian advertising campaign. Acquiring his own machine in 1989, he has been drawing, sculpting, editing and compositing digitally ever since. Graduating in 1992, he founded a succession of small, successful studios in London. In 2005 he moved to Bristol, where he now works full time on his sublime, fluid studies in light, colour, motion and liquid geometry. Delighting in the machines' ability to hone and craft sculptural drawings, render, edit, mix, cut, paste, sculpt, and re edit, colour spaces are manipulated, light levels finely tuned, and a myriad of images and series of derivations are produced, using processes analogous to the way in which modern music is realised. Chuck Elliott is reinterpreting the essence of abstract fine art printmaking for the digital age. Pure logical progression.
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By Chuck Elliott
Located in Bristol, GB
Klint / reDux / kbrk is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper.
The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch.
Individually signed and numbered
From an edition of 48 prints, plus 4 APs
Image size ⋅ 50.8cm H x 66cm W
Sheet size ⋅ 65cm H x 80cm W
.
Le Klint Studio is an inspiration to anyone who loves paper folding, contemporary design, and light. So, of course, I couldn’t resist making a series of origami like geometries for a new set of works on paper in 2015.
Le Klint Studio, to my mind, are particularly well known for their folded paper pendant shades, contemporary designs which are as beautiful as they are ubiquitous.
The image I made is not an identikit line work, more an homage based around some of the origami like folds they use, with the addition of colour glazes and offset transparencies. I've also added a grid like structure of darkly shaded lines and accents, that brings the geometry to life.
The first piece I drew, ACDH (acid house...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
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Dazzle / 12 bar crop
By Chuck Elliott
Located in Bristol, GB
Dazzle / 12 bar crop is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper.
The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch.
Individually signed and numbered
From an edition of 48 prints, plus 4 APs
Image size ⋅ 60cm H x 48.6cm W
Sheet size ⋅ 72.8cm H x 60.6cm W
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The Dazzle piece I drew for my 2017 show Current at Catto was 200cm wide, but the drawing seemed to offer an opportunity to generate a smaller work on paper as well.
So after a little further experimentation, I cropped the study down to the 12 vertical bars that form the central core of the composition, and tried it out at various sizes on the Hahnemühle paper, settling in the end for this pigment print edition at 60cm high. I like the idea of the 12 bar crop, with its strong musical connotations.
Dazzle is another work that uses my SV (systematic variation) technique to modulate the line drawing in ways that make it denser, more complex, and less overtly machine generated.
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Located in Bristol, GB
Torsion / primer is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper.
The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch.
Individually signed and numbered
From an edition of 24 prints, plus 2 APs
Image size ⋅ 88cm H x 72.2cm W
Sheet size ⋅ 100cm H x 82.2cm W
.
Torsion / primer is a variant of an original base drawing that was used to create the ‘torqued’ forms of the more complex Torsion / REZ works on Plexiglass.
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For Torsion / primer I drew tall...
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