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Rewriting the Past #9, on gray paper (30x40cm)
Rewriting the Past #9, Detail 1
Rewriting the Past #9, Detail 2
Rewriting the Past #9, framed on the wall

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Rewriting the Past #9 Drawing

Sara Antunes

Portugal

Drawing, Ink on Paper

Size: 8.7 W x 13 H x 0.1 D in

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$890

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ABOUT THE ARTWORK

This drawing is part of a series of 11 drawings that register the observation of plants in the artist's mother's garden. All the drawings, except for 3, are from direct observation of the plants. Each drawing is made with a brush, inspired by Chinese painting, in its spontaneity and expressiveness, of observing another Being with respect. The drawings, although from observation, do not seek to be realistic, but rather to convey to those who observe them, the emotion of the artist who observed and drew these plants. Each drawing is made on a learning sheet from a school notebook. This is undoubtedly a means of reusing paper, not polluting the environment, but also a deliberate aesthetic intention. Furthermore, each drawing is understood by the author as a true learning experience. Each drawing measures 22x33cm and is mounted on a 30x40cm light gray paper (included in the price). The price does not include the wooden frame or the white passe-partout that can be seen in the image of the work on the wall. This image serves only as a suggestion of how this work can be framed. All the drawings in this series were part of an exhibition by the GAAS studio (see events in the author's biography), in November 2022, at the Municipal Gallery of the Pavilhão da Torre da Marinha, in Seixal, Portugal.

DETAILS AND DIMENSIONS
Drawing:

Ink on Paper

Original:

One-of-a-kind Artwork

Size:

8.7 W x 13 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am an architect and artist, living in Lisbon, Portugal. I have a master in drawing, by the Faculty of Belas Artes, Lisbon Portugal. And a PhD in Architecture, investigating space by drawing. My artistic work registers, in some way, the impermanency: the light and shadow, the vulnerability and transitivity of life. Some of my work is based on reality (e.g. a stone, a plant, a space, the sea), nevertheless, I understand that reality can be regarded in many ways, depending on what you propose yourself to look at, or, what are you able to see.

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