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Netherlands
Photography, C-type on Aluminium
Size: 59.1 W x 39.4 H x 0.3 D in
Ships in a Crate
Shipping included
This work has been made with an analogue pinhole camera and depicts a carousel moving at a fancy fair. Before the spinning carousel a woman is waiting for her child which is in the carousel. When working with a pinhole camera objects which are moving are blurry, which gives a dreamy fairy tale like touch to the photograph which has been on show in galleries in Istanbul and the Hague as well as Rotterdam. The work was also in a show at the City Museum/ Gemeentemuseum of The Hague ( The Netherlands). The title of the works refers to a poem (from the collection of poems 'The Art of War. Languishing poems and other temporary cease fires').
Original Created:2015
Subjects:Culture
Styles:Fine ArtFigurativeAbstract
Mediums:C-typeBlack & WhitePinhole
Photography:C-type on Aluminium
Artist Produced Limited Edition of:8
Size:59.1 W x 39.4 H x 0.3 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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