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'The Rose and the Snail' (2011) £3,360.00
35.5" x 43.5"
| VAT/ex VAT | GBP | Euro | USD |
|---|---|---|---|
| ex VAT | £2,800.00(ex.vat) | €3,192.00(ex.vat) | $4,592.00(ex.vat) |
| VAT | £3,360.00 | €3,830.40 | $5,510.40 |
(* US Dollar and Euro prices are approximations only)
'The Rose and the Snail' (2011)
[hover mouse over image to zoom in]Oil and graphite on canvas
Signed by the artist
six foot person & work to scale
Henrik Simonsen
1976
Danish artist Henrik Simonsen engages with a Western tradition of flower paintings and still life, approaching it in a contemporary way. His charcoal drawings, prints and paintings are steeped in the Scandinavian tradition of art and design inspired by natural elements. Henrik Simonsen employs the inexhaustible richness of nature as metaphor for the vitality and vulnerability, passions and weaknesses inherent in the human experience. There is a lesson to be learnt from the infinite variety in nature and the innate complexity in even its most simple forms.
Drawing is central to Henrik Simonsen’s work, stemming from the directness of the mark-making process and the simple way lines on a surface create shapes and forms. All elements are drawn freehand, even in repetition, to maintain the life and strength of the line and therefore its direct connection to the feeling that motivates it. In recent work, paint and colour have developed a greater integrity, especially when poured or thrown at the canvas. These splashes of paint contrast drawn lines with an abstract element and suggest the shifting moods at play within formal expression.
Henrik Simonsen is interested in the role of history, both as an influence and a creative element in his work. He follows an organic process where elements are allowed to ‘grow’ onto the canvas in layers, informing one another in their creation. The resulting imagery documents this process while creating a sense of time having passed on the canvas rather than one frozen point in time.
Decorative elements used in Henrik Simonsen’s work are inspired by 18th and 19th century wallpapers as well as Japanese and Chinese screen painting and fabrics. These are at times obscured or revealed amidst a contemporary take on the minutely observed taxonomies of naturalist still life. This historical attempt to tame nature in architectural interiors is punctuated by pours and splatters referencing the irreverent elements of street art – a sort of mental graffiti betraying feelings too unkempt to be contained in a civilized space. The overall sense is one of contemporary emotions breaking free within the polite restraint of history’s drawing room.
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