Keith Milow
Born 1945D/02/17
signed and dated 2017
titled verso
titled verso
oil on lead
48 x 37 cms (19 x 14½ ins)
framed: 56 x 44 cms (22 x 17½ ins)
framed: 56 x 44 cms (22 x 17½ ins)
£ 4,500.00
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3EKeith%20Milow%3C/strong%3E%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cem%3ED/02/17%3C/em%3E%3C/div%3E%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%20and%20dated%202017%3Cbr/%3E%0Atitled%20verso%20%20%3C/div%3E%3Cdiv%20class%3D%22medium%22%3Eoil%20on%20lead%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E48%20x%2037%20cms%20%2819%20x%2014%C2%BD%20ins%29%3Cbr/%3E%0Aframed%3A%2056%20x%2044%20cms%20%2822%20x%2017%C2%BD%20ins%29%3C/div%3E
Notes from the artist: This work is one of the first in a series that reprises an earlier extended sequence of ‘Drawings’, on various metals, dating from 1988 to 1992....
Notes from the artist:
This work is one of the first in a series that reprises an earlier extended sequence of ‘Drawings’, on various metals, dating from 1988 to 1992. The initial sequence, numbering approximately 350 works, was made whilst I was developing some deliberately architectural sculptures, such as my series of works at One Canada Square, London. The ‘Drawings’, small paintings in fact, were charged with relating ground to image, as a wall support would with a relief sculpture.
There is a perceptual challenge, in D/02/17, between the visual richness of the oxidised metals and the imposition of an image. Unlike the earlier sequence, where a catalogue of disparate images was used, this series restricts itself to the play of dots and spheres.
This work is one of the first in a series that reprises an earlier extended sequence of ‘Drawings’, on various metals, dating from 1988 to 1992. The initial sequence, numbering approximately 350 works, was made whilst I was developing some deliberately architectural sculptures, such as my series of works at One Canada Square, London. The ‘Drawings’, small paintings in fact, were charged with relating ground to image, as a wall support would with a relief sculpture.
There is a perceptual challenge, in D/02/17, between the visual richness of the oxidised metals and the imposition of an image. Unlike the earlier sequence, where a catalogue of disparate images was used, this series restricts itself to the play of dots and spheres.
