Drawing titled "There We Go, That L…" by Sebastian Alsfeld, Original Artwork, Graphite

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There We Go, That Looks a Bit Better Now. (2025) Drawing by Sebastian Alsfeld

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Rating: 4.9 (12664 reviews)

Original

Graphite on Paper, 21x15 in

$578.21

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One of a kind

Artwork signed by the artist

Certificate of Authenticity included

Original Artwork (One Of A Kind) Drawing, Graphite / Acrylic on Paper

Artworks classification

One of a kind (OOAK / Original Artwork)

One-of-a-kind works of art are also known as “OOAK” artworks. This means that every work of art is unique and there will never be another identical one.
Dimensions Height 21in, Width 15in
Artwork's condition The artwork is in perfect condition
Framing This artwork is not framed
Categories Drawings under $1,000 Abstract Abstract

Mediums - graphite, and acrylic on high quality 100% cotton watercolor paper - 300g - medium/coarse grain.
Unframed, shipped in a tube.
The idea for this here drawing started with a drawing by an "ultra contemporary" German artist that I chanced upon whilst browsing online. Whilst I am a fan of this so called provisional painting/ slacker painting/ zombie formalism - or whatever other fancy term the artworld calls this type of art these days - I felt this drawing just lacked a little Oomph so to speak. So I projected and copied the artists drawing, which was just some doodles and scribbles made with graphite, and then proceeded to help this artist out by adding some color and a few more of my own automatist doodle scribbles. The drawing still has that sort of slackerish, ascetic feel to it, but I think it holds up much better now with my additions. The title reflects the conceptual idea behind the work. Back in the first and second year of art school, my drawing instructor would always walk around the studio whilst we students were doing figurative drawing from a model and make slight alterations to our drawings. With the help of our instructor's additions, our drawings did indeed "look a bit better" Good ole interventionism.

About this artwork: Classification, Techniques & Styles

Graphite

Black and white drawing made with a pencil, an instrument made of a small wooden stick used as a sheath for a graphite mine of the same length.

Acrylic

Paint using traditional pigments mixed with synthetic resins.

Technic Drawing

Drawing is a technique of visual representation on a flat support. The term "drawing" designates both the action of drawing, the resulting graphic work, and the shape of any object. It is also a representation on a surface of the shape (and possibly the light and shadow values) of an object or figure, rather than their color. There are a large number of drawing techniques: “Linear drawing” represents objects by their outlines, edges and some characteristic lines; beyond this limit, the drawing develops by representing the volume by shadows, often by means of hatching, incorporates colors, and joins, without clear transition, the painting.

Sebastian Alsfeld

China

Born: Edmonton, Alberta, Canada. Living and working in Harbin, China. Education:. 1999-2002 Bachelor of Fine Arts with distinction, Painting Major, Alberta College of Art and Design, Calgary, AB. (Studied under [...]

Born: Edmonton, Alberta, Canada. Living and working in Harbin, China.

Education:

1999-2002 Bachelor of Fine Arts with distinction, Painting Major, Alberta College of Art and Design, Calgary, AB. (Studied under acclaimed Canadian painter, Chris Cran)

1996-1998 Fine Arts Diploma, Grant MacEwan Community College, Edmonton, AB.

Artist Statement:

I have always understood painting as a medium that embodies a thought process which depicts an accumulation of marks over a period of time. My paintings are a record of actions and reactions which often result in explosive, fractured, and chaotic images. I am interested in paintings that need to be visually unpacked; to discover which actions or marks came first and how they were applied and constructed.

I'm interested in paintings that can't be readily resolved. It should take time, cause trouble, and pull you back to look at it, look at it more; not sit in a space or on a wall and be some comfortable, decorative object.
I also understand there is a fine line between just plain old bad, uninteresting painting, and a painting that frustrates, gets under your skin a little, and commands some attention. It's the latter that drives me to keep doing this weird activity ( in this day and age) we call painting.

I pursue no objectives, no system, no tendency; I have no program, no style, no direction. I have no time for specialized concerns, working themes or variations that lead to mastery. I steer clear of definitions. I don’t know what I want. I am inconsistent, noncommittal, passive; I like the indefinite, the boundless; I like continual uncertainty.
—Gerhard Richter
Me, too.
—Manuel Ocampo
Me, three.
_Sebastian Alsfeld