Painting My Numbers - IN, 2012

Name: Painting My Numbers - IN by Tony Alcock | Buy Paintings | Artlimes, Art & Design
Brand: Tony Alcock
SKU: CMsY4yGczh72DjgnS
Price: 1147.5 GBP
Availability: InStock

Tony Alcock

Oil on canvas over board with added ash and Ipé wood

Original Painting, 181.2 x 62.5 x 5.8 cm

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£1,350.00

✔Signed by Artist

✔ Certificate of Authenticity

✔Framed

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Offered by
AMA Artworks

France

Paintings > Visionary

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All return shipping costs are borne by the buyer. These would include any customs fees, brokerage fees, duties, taxes, etc. These are buyer's responsibility for transit BOTH ways. Concerning a returns request to be accepted, please note the following : If you are not completely happy with the work, it must be returned within the 7 days from reception, and certainly in the same condition as it was dispatched. Please note artworks for return shipment must be carefully prepared and packed in their original packaging in order to qualify for a refund. It is therefore important that you take care when unpacking the artwork on reception. After receiving the returned artwork safely, a refund for the price paid for the artwork will be promptly and willingly provided.

About Tony Alcock

About the Product

About Tony Alcock

I was born in Nottingham (UK) in June 1947. My post school art education included a Pre-Dip at Loughborough followed by studying Fine Art / Painting at Leicester Polytechnic. After graduating and producing my 'Light Organ', I enjoyed a couple of years being recognized as an original and practicing artist in the UK. However, I chose to pursue life as a teacher, gaining a PGCE from Bristol University, where I later briefly lectured in Art education.

Circumstances changed and I found myself working as a musician, became a music shop owner and eventually worked in a successful graphics based company, MOGO UK. From 1993, I was able to reactivate my artistic ambitions, identifying myself as AMA, I've always liked the symmetry of my initials. Most all the work on this Artlimes website will have been produced after 1993.

I hope you enjoy and get into the work you see, it can then speak for itself.

By the way, whatever you think about the art, I'm very good at wrapping up, packaging and dispatching the finished article!

About the Product

This canvas started out as ‘Barnet, Mark & Jasper fit a Saab 900, (Original Model)’, painted in 1994. On opening its packing case prior to an exhibition in 2009, I was devastated to see this work effectively ruined as a result of flooding which happened not long after our arriving in Saint Raphaël. My studio was originally a garage below the house in which I live, which is built into the shaley rock of the local Esterel mountains and a good deal of water got in! The upper and lower sections of the canvas were quite dilapidated, but the original work being so close to my heart, ! set to to preserve the central horizontal section by cleaning and then repainting it.

Just re-modelling the three remaining central bands of colour was clearly an unrewarding exercise. The original top horizontal band of blue containing the symbolic 'Daytona Zero' having disintegrated, the composition was quite lacking. ‘Zut’, not only did I think to put the ‘Zero’ back into the painting but I chose to do it thrice and at different scales, diminishing in size from left right. The painting was to be called, ‘Painting my Numbers - OUT’ as this quasi restorative work had become an effort to expurgate my original interest in number forms, dating from 1993.

However, as the painting progressed, more and more attention was being paid to the existing original numbers and, indeed, more and more numbers were being added. Clearly this was becoming a case of ‘Painting my Numbers - IN’!

When the painting on the remaining good canvas was finished, It became evident that the proportions of the work were just too long and thin. As I am most at ease working with wood, I chose to place a well figured Ash wooden panel, cut throughout its length at the top of the composition, the joint being hidden by a piece of Ipé wood. This seemed to be the answer and, for me, the exercise was complete.

Despite the addition of these pieces of wood, I see this work as a pure painting, demanding my reaching back to my earlier days as an artist, one very much more involved with the use of paintbrushes.