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Netherlands
Photography, Pinhole on Aluminium
Size: 59.1 W x 39.4 H x 0.2 D in
Ships in a Crate
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I love Istanbul and I stay there a lot at friends who live in Fener/Balat on the Golden Horn. This pinhole photograph has been taken at the Tersane-i-Amire in Istanbul. The title of this work is a phrase of the poem ‘Temporarily Ceasefires’. Tersâne-i Âmire was the Ottoman imperial shipyard, on the Golden Horn in Constantinople (Modern Istanbul). The word "Tersane" is derived from the Arabic "dar al Sina’a" - as is the Italian "Arsenale". The Tersâne-i Âmire was at the heart of shipbuilding and naval governance in the Ottoman Empire. I love this old industrial site and the meditative pose of the cranes taking a rest. I use pinhole photography a lot to reflect upon the concept of time.
Original Created:2015
Subjects:Places
Styles:Fine ArtConceptualFigurative
Mediums:PinholeBlack & WhiteC-type
Photography:Pinhole on Aluminium
Artist Produced Limited Edition of:8
Size:59.1 W x 39.4 H x 0.2 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Netherlands.
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Netherlands
Iconic, eye-catching yet serene, high-quality artworks. Works of Brigitte Spiegeler are in various international private and company collections. Participated in the Venice Biennial 2017. https://artguide.artforum.com/artguide/marcia-wood-gallery-13486/dream-variations-231426 ‘Brigitte Spiegeler’s work is about an imaginary time, which exists only in our minds: a timeless, internal time. Like a memory: vague, with reappearing details (the memory is engraved in the present moment, but in the same time immensely distant and imperceptible (memories belongs to the past). The blue colour gives a different relation with the time: it is a modern time, with abstract forms, superimposed on a fixed past, a complement to what already existed.’ (Quote by Philip Peters in the publication ‘Byzantine Blue’)
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