



Finally Tuned (2022) Escultura por Catalin Domniteanu
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- Embalagem (Caixote de madeira) Todas as obras de arte são enviadas com um transportador premium, cuidadosamente protegido e segurado.
- Rastreado Rastreamento do pedido até a entrega ao comprador. Um número de rastreamento será fornecido para que você possa seguir o pacote em tempo real.
- Prazo Entrega mundial em 3 a 7 dias (Estimativa)
- Alfândega não incluída O preço não inclui taxas alfandegárias. A maioria dos países não tem imposto de importação para obras de arte originais, mas você pode ter que pagar o IVA reduzido. As taxas alfandegárias (se houver) devem ser calculadas na chegada pela estância aduaneira e serão cobradas separadamente pela transportadora.
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- Certificado de autenticidade on-line rastreável Os certificados de autenticidade podem ser verificados online a qualquer momento, digitalizando o código da obra de arte.
- Certificação do artista Os especialistas estudam a obra e a carreira de um artista para então estabelecerem uma cotação média independente e confiável. A cotação média permite situar o artista em uma faixa de preço para um determinado período. Os especialistas também podem ser convidados a estabelecer uma estimativa mais precisa para uma obra em particular.
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Obras de arte originais (One Of A Kind)
Escultura,
Metais
/
Vidro
/
Madeira
em Madeira
- Dimensões Altura 12in, Largura 26in / 20.00 kg
- Apto para exterior? Não, Esta obra de arte não pode ser exibida ao ar livre
- Categorias Esculturas de US$ 20.000 Arte conceitual Ciência
Schrödinger’s probability wave equation tells us that the electrons don’t have a unique position in space, but they spread over a volume of space, simultaneously, just like the body of this amphitheatre. The Schrödinger’s dilemma, whether the cat is dead or alive inside the box, before looking, persists today in science, known as the “observer’s problem” (or, the “measurement problem”). The two shoes (one burned - the dead, and one shiny - the alive) invite us to reflect over the counterintuitive nature of the subatomic world, because we’re not used to see things in such disembodied, probabilistic way. Our macro-world is rather consistent in time and not observer dependent.
The structure of an atom is complex, and the dynamics within the atom are incredible. Radiation occurs by laws of probability, never predictable with high degree of precision - we gave that role to the suspended copper tube. Other creatures, appearing from different sides of the atom’s body, substantiate the intricacy of the atom, suggesting perhaps subatomic components breaking off from their host under whatever external interactions or internal instability.
Next, one may identify a set of levers, dials, gears, and gauges displaced around the atom. They must be there. They must be there. They serve to fine-tune the physical constants that every single atom in the universe obeys: the elementary charge of the electron, the universal gravitational constant, the Plank constant, the speed of light in vacuum, the electric permitivity and the magnetic permeability of the vacuum, the electron’s mass, and maybe others. They must be there, acting unequivocally inside the structure of the atom, making all the building blocs of matter to be consistent and compatible… for the universe to exist.
The beauty of these control knobs and gauges fine-tuning the properties of the underlying structure of reality is that it allows for flowers’ perfume and sweet nectar to emerge. The laws of nature bear the potential for life to emerge. I, the author of this work, am determined to celebrate it.
Temas relacionados
I propound my allegorical sculptures to art lovers who cherish classy, yet modern poise in their spaces - for the eye, for the prize, and for the memory. Having already accepted that change is the only consistency, it must be my reaction to the relativism of our times for why the subjects of my works converge towards the fundamental laws of nature. Time itself became essential in my artistic toolbox for it connects epochs and matters.
These works emerged from stained glass, from which I borrowed the energy of the sunlight passing through colored transparences or bouncing off of textured surfaces. The flexibility of the Tiffany method, combined with consolidated structure allows me to achieve large panels with sophisticated patterns without unsightly structural fragmentation.
The bas-reliefs veered towards three-dimensionality by inserting volumetric components, adding floating layers, and textured soldering. My creations engage lightly in spatial extensions by virtue of able distinction between the structural and the decorative components.
The play of light reflecting on glass's volumes opens up a new aesthetic expressiveness.
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Nacionalidade:
CANADÁ
- Data de nascimento : data desconhecida
- Domínios artísticos: Obras de artistas profissionais,
- Grupos: Artista profissional Artistas Canadenses Contemporâneos