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I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction. 

The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean. 

Optional, shipping on stretcher frame.
I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction. 

The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean. 

Optional, shipping on stretcher frame.
I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction. 

The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean. 

Optional, shipping on stretcher frame.
I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction. 

The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean. 

Optional, shipping on stretcher frame.
I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction. 

The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean. 

Optional, shipping on stretcher frame.

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Out of Place 2 Painting

Dragomir Misina

United Kingdom

Painting, Acrylic on Canvas

Size: 78.7 W x 47.2 H x 1.2 D in

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ABOUT THE ARTWORK

I use the process of painting to document physical and psychological presence, investigating the communicative function of colour and form as a reaction. The starting point of each painting is based on some form of narrative, which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to escape from it. Therefore the paintings may be observed for what they are rather than what they should mean. Optional, shipping on stretcher frame.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

78.7 W x 47.2 H x 1.2 D in

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Dragomir Mišina uses the process of painting to document physical and psychological presence, investigating the communicative function of color and form as a reaction. The paintings are thought process driven and reflective. Dragomir’s process is organic, beginning the paintings with gestural brush marks, impulsive scrawling and graffiti. Layers are introduced in stages and the direction of the painting is informed and influenced by each previous mark and colour. They are suggestive in possibilities and provide some insight into the sensation experienced while creating the works. After leaving Croatia, Dragomir graduated in 2012 with a First in Fine Art Painting from Bath School of Art and Design, Bath Spa University,UK. Since then Dragomir’s art practice has been based at 44AD studio, Bath and he is a proactive member of 44AD’s art community. Dragomir’s work has been exhibited widely nationally and internationally and published in books and magazines. As well as having paintings in private collections in Europe, Asia, North America (including Agnes Gund Collection) and South America, Dragomir’s work has been purchased by Bath Spa University and is now part of their permanent collection.

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Artist featured in a collection

Artist featured by Saatchi Art in a collection

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