Items Similar to Psyche D / EvH
Want more images or videos?
Request additional images or videos from the seller
1 of 7
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.
About the Seller
5.0
Vetted Professional Seller
Every seller passes strict standards for authenticity and reliability
Established in 1995
1stDibs seller since 2021
- ShippingRetrieving quote...Shipping from: Bristol, United Kingdom
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllTorsion / primer
By Chuck Elliott
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.
The idea comes from a number of places but in particular the modernist sculptural work of Walter Leblanc, and his idea that if you heat up a thin bar of steel, and torque one end through a number of rotations, whilst clamping the other end firmly, the resulting form will be a hugely satisfying candy twist of metal, spiralling up or down, depending on your choice of rotational direction.
For Torsion / primer I drew tall...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Pigment
Motorik / TWO / chromatic shift
By Chuck Elliott
Located in Bristol, GB
Motorik / TWO / chromatic shift 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 h...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Pigment
Flow / turquoise base
By Chuck Elliott
Located in Bristol, GB
Flow / turquoise base 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 ten...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Pigment
Millefiori / DMG / kandy black
By Chuck Elliott
Located in Bristol, GB
Millefiori / DMG / kandy black 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 ha...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Pigment
interStella / Quad 1 pt1
By Chuck Elliott
Located in Bristol, GB
interStella / Quad 1 pt1 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 ...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Pigment
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
.
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.
I hope it takes on some of the life you’d find in a classic Missoni fabric, as well as drawing inspiration from the amazing ‘camouflaged’ vessels that became known as dazzle ships...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Pigment
You May Also Like
The Kitchen Drawer - An overwhelming source of detritus... everyday objects
Located in London, GB
The Kitchen Drawer
Simply an overwhelming source of detritus...
'Detritus' series was born from the twin frustrations of lockdown halting all planned projects, yet litter still somehow being dropped in abundance on my street.
With no idea of the final output, or indeed the hygiene implications, I started to collect, scan, and record what I found. When I realised these colourful misshapen objects could be turned into something beautiful, the frustrations left me and I began looking for other sources of Detritus.
These collages gave me purpose during the pandemic and allowed me to grow something beautiful from a place of frustration. My aim is to simply give viewers of the work a fleeting moment of calm.
Unable to shoot anything, I’ve been making collections of things I find on the ground and scanning them to create composite images of otherwise ignored or discarded objects." - George McLeod...
Category
2010s Abstract Geometric Abstract Prints
Materials
Photographic Paper, Color, Archival Pigment
The Sun, Golden Colors, Warm Tones Diptych, Space Age, Abstract Geometry Hue
By Ryan Rivadeneyra
Located in Barcelona, ES
Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...
Category
2010s Abstract Geometric Abstract Prints
Materials
Archival Ink, Photographic Paper, C Print, Giclée, Archival Pigment
Untitled Israeli Abstract Collagraph AP Print
By Zvi Tolkovsky
Located in Surfside, FL
Dimensions w/Frame: 16 3/4" x 14 3/4"
Zvi Tolkovsky was among the founders of the current Bezalel Academy. Also among the founders of the Art Department in the late 1960s, he established the silk-screening and papermaking workshops, and was one of the department’s most outstanding teachers until his retirement this decade. He spawned generations of students during his many years of teaching. Tolkovsky is of a generation of teachers who formed a personal relationship with their students. This gallery is too small to contain the works of his many students, from those who were among his first students and are now established artists, to those who have just recently completed their studies. Doron Livne– From the Exhibition Text
This exhibition was initiated by Tolkovsky’s students, in homage to the man and his teaching
.
Participating artists: Pinhas Cohen-Gan, Itzik Livne, Assaf Ben-Zvi, Shuki Borokovsky, Jacques Jeaneaut, Haim Ben-Shitrit, Doron Livne, Itzik Maresha, Orna Milo, Dov Heller, Gil Yefman, Ami Rosenberg, Shosh Israeli, Sharon Keren, Hannan Abu-Hussein, Alex Kramer, Gil Shani, Israel Rabinowitz, Noam Dror, Pinni Zinovitz.
1956-59 Studied at the Bezalel School of Arts and Crafts, Jerusalem / 1957,58 America –Israel foundation Grant / 1959-61 Studied and worked in Paris / 1966-67 Lived and worked in New York and studied at Art Student League/ 1968-2001 Lecturer at the Bezalel Academy of Art and Design, Jerusalem / 1968 Established a screen printing workshop at the Bezalel Academy, Jerusalem / 1969 Jerusalem Prize for Painting / 1970 Established the Print Workshop at the Artists' House, Tel Aviv / 1979-81 Lived and worked in Boston and San Francisco / 1984 Artist's Book, edited by Mordechai Omer, published by Bezalel Academy; Art critic, "Kol Ha Ir", Jerusalem / 1985-88 Head of the Fine Arts Department, Bezalel Academy, Jerusalem / 1986 "Paper. Art and Technology", / 1990 Artist-in-residence,Cite Internationale des Arts, Paris. / 1994 Curator of the exhibition "mutual Feedback: Painting / Sculpture / Print", Jerusalem Print Workshop; The Minister of Education and Culture Award; Curator of "Art Focus", Artists' House, Jerusalem / 2000 Curator of the exhibition "33x33", Artists' House, Jerusalem / 2002 Artist in Residence Taipei, Taiwan/ 2004 Mordechai Ish-Shalom Prize for Life's Work, Jerusalem / 2007 Established the Paper Workshop at Bezalel Academy; Prize of the Ministry of Education for Painting.
Selected solo Exhibitions 1962 Rina Gallery, Jerusalem; Museum of Modern Art, Haifa / 1965 Rina Gallery, Jerusalem / 1969 Gordon Gallery, Tel Aviv; Artists' House, Jerusalem / 1972 Graphic Art Gallery, Tel Aviv; Gallery of Modern Art, Old Jaffa / 1975 Tel Aviv Museum of Art, Helena Rubinstein Pavilion / 1977 Julie M. Gallery, Tel Aviv / 1978 Hirschberg Gallery, Boston; Gallery of the Kala Institute, Berkley, California / 1979 Source Gallery, San Francisco / 1980 Julie M. Gallery, Tel Aviv; Gallery of the Kala Institute, Berkley, California / 1982 Radius Gallery, Tel Aviv / 1984 "Works on Paper", Jerusalem Print Workshop / 1985 Artists' house, Jerusalem; Alon Gallery, Jerusalem / 1988 J. Robert Fisher Hall, Mishkenot Sha'ananim, Jerusalem / 1989 Meimad 2 Gallery, Tel Aviv; Kibbutz Cabri gallery / 1990 "Nueima", Israel Museum / 1997 Art Space Gallery, Jerusalem / 1998 Novy Svet Gallery, Prague / 1999 The Haifa University Gallery / 2000 Konrad...
Category
20th Century Abstract Geometric Abstract Prints
Materials
Archival Pigment
Memphis Underground (40% OFF - LIMITED TIME ONLY)
Located in Kansas City, MO
David Morris
Memphis Underground
Digital Painting on Archival Paper
Year: 2023
Size: 24x24in
Edition: 15
Signed, numbered and dated by hand on label to be attached verso
COA provided...
Category
2010s Abstract Geometric Abstract Prints
Materials
Archival Paper, Archival Pigment
$2,344 Sale Price
39% Off
Constellation Suite no.6, Fine Art Print of Geometrical colourful sculpture
Located in London, GB
CONSTELLATION SUITE #6, 2021
Archival Pigment Print on Hahnemühle 100% Cotton Fine Art Paper, Custom framed
45 x 35 cm
All prints from an Edition of 9
Series: Constellations
All aro...
Category
2010s Abstract Geometric Abstract Prints
Materials
Cotton, Photographic Paper, Color, Archival Pigment
"IMAGINED HEAT SPOTS 06212018 807pm", Abstract, Digital, Rose, Pink, Blue, Gold
By Justin Neely
Located in Toronto, Ontario
The abstract print "IMAGINED HEAT SPOTS 06212018 807pm" is a digital artwork, created with the Brushes Redux iPhone app, and printed at 36x36" on museum-quality Canson Platine Fibre Rag 310gsm archival paper. As the title indicates, the artwork was created on June 12, 2018 at 8:07 pm.
While Justin Neely...
Category
21st Century and Contemporary Abstract Geometric Abstract Prints
Materials
Archival Paper, Archival Pigment, Digital Pigment
