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  • No Brilliantly Coloured Birds, Martin Boyce - CultureLabel - 1
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Martin Boyce

No Brilliantly Coloured Birds

Dundee Contemporary Arts

£540.00 GBP

Limited Edition Screenprint

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About

No Brilliantly Coloured Birds, 2009 Martin Boyce

Martin Boyce developed a large scale unique print as part of his 'No Reflections' installation for Scotland and Venice 2009. These two related editioned prints were commissioned by DCA in conjunction with this project.

Limited Edition

Edition of 40. Signed and numbered by the artst.

About

Martin Boyce developed a large scale unique print as part of his 'No Reflections' installation for Scotland and Venice 2009. These two related editioned prints were commissioned by DCA in conjunction with this project.

Continuing Boyce's interest in the ‘collapse of nature and architecture’ and interior and exterior forms, these prints make reference to the empty wooden interior of the artist's bird box sculpture in the vacated Italian Palazzo; the holes in which simultaneously suggest the form of a head or mask. During the development of this project Boyce drew from a short text he had written with an abandoned zoo in mind: ‘warm dry stone and palm leaves, no elephants, no giraffes, no penguins, no brilliantly coloured birds…’.

This language of an abandoned garden is continued with the text 'No Brilliantly Coloured Birds' that tumbles out across the image. The form of the text stems from a central structural motif that forms a core of much of Boyce’s work. This motif is derived from an early black and white photograph of four geometric concrete trees sculpted by Joel and Jan Martel in 1925. Boyce explains:

“While working on the Martel tree models I began to develop a linear repeat pattern with the central structure of the trees as the main motif. Over time I then began to notice the possibility of letters hidden within the lines of the repeat. As first I found an R, an S and an M then slowly and with much trial and error I found a good representation of every letter of the alphabet. Some letters were found upside down, some on their side…I allowed the letters to appear as they were found within the pattern…the relationship with falling fragments, autumnal leaves and the air blowing through architecture and nature seemed to fit perfectly with these tumbling letters.”

Details

Description: Six colour screenprint on Heritage White (315gsm) paper

Dimensions: 102 x 74 cm (image size: 95 x 68 cm)

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