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Chuck ElliottPsyche D / EvH2017
2017
About the Item
Psyche D / EvH is a metallic Lambda photographic print, optionally mounted to Plexiglass, laser cut to shape, and fitted with a hidden subframe, ready to install.
Work can be supplied unmounted and ready to frame if you’d prefer.
The work is individually signed and numbered verso, with both a unique catalogue raisonné number and the edition number for guaranteed authenticity.
From an edition of 8
Image size ⋅ 100cm H x 100cm 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: 39.38 in (100 cm)Width: 39.38 in (100 cm)Depth: 1.19 in (3 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:Bristol, GB
- Reference Number:1stDibs: LU158128455082
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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Work can be supplied unmounted and ready to frame if you’d prefer.
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From an edition of 12
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Drawing Flow was a breakthrough moment for me. It was the first piece that spoke directly to the idea of drawing glass, using translucent glazes, and layers of transparencies, that in some way capture the excitement of seeing a great piece of studio glass, or contemporary stained glass...
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Work can be supplied unmounted and ready to frame if you’d prefer.
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