Green Parrot Island #570/777

144 Views
Visit Website
Add to watchlist
This painting was first published as the cover of the 2013 Yes box set 'The Studio Years 1969-1987''The subject of the painting is the rock formation in the distance. There were a couple of paintings that were just details from this formation, made in fact, before I had conceived of the complete structure. At the time of making them, I was fiercely curious of what lay just to the left or just to the right of the paintings, clearly they were part of a bigger structure and in fact part of a world where these structures were a given.' - RD
Arts
0.0
TOTAL SCORE
General
Website: Visit
Markets
Nifty Gate Way
Financial
Initial Price : 333.00 USD
Lots to sell: 1
Lots sold: 1
Author
Roger Dean
Seller
Satoshi420
NFT List
Related news
Doodles NFT collection teases potential token launch
Opinion: Don’t dismiss Bored Apes — NFTs could turn out to be a practical platform for sales and smart contracts
Refinable Launches Gaming Initiative to Support NFT and Play-to-Earn Movement
Other Interesting NFTs
Sold
The Deadness #23/25
The minty freshness
Sold
busy_chasing_dreams
Digital Painting hand-drawn on iPhone6, 1080px x 1080px, 2019
Sold
No Future #9/15
None
Sold
Who's in control?
In a society where everyone wants to control everyone, who's in control? "Who's in control?" is a mirror of a controlling society, a futuristic vision of a current reality. Artwork with three different states in all Layers (day, night and sunset) allows owners to make different combinations and show who is in control of this artwork! *** Scanning this artwork with the ARize app [https://arize.io/] will trigger an AR video experience*** ***Music used in the videoart by Midranger (feat. Holly Drummond) - "Unrequited" ***
Sold
No Favour (cold) #5/25
No Favour for you. Cold variation.
Sold
Genesis
José Delbo sent me his striking pencil sketch and powerful inked work, which I then interpreted in oil on canvas. I wanted to create a very painterly piece with obvious brush marks etc, but I was also aiming for a nostalgic feel, a kind of 1980’s superhero comic book look, the kind I grew up with. My goal with this animation was to try to recreate, in part, the creative process that both artists went through with the visual information I had. I was able to showcase my painting process more accurately as I could take photographs of my progress throughout. Consecutive images could then be layered like brush strokes over José’s drawing to create the impression that this was one continuous artwork from pencil, to ink, to completed painting. The representation of the line sketch at the beginning, then pencil/ink and lastly the paint layers being applied demonstrate both artists’ struggle for the right lines, tone, form, and colour until the work is finally completed. As the oil was still wet with each photograph the glare of my studio lights can be seen in the brush strokes. Eventually, the figure emerges and as it does, our hero comes to life, looking directly at the viewer -- but is he grimacing in approval or disgust? We will never know for sure as just before he can say anything, white paint is brushed across the canvas entirely and the process begins again. Only the bat is quick enough to escape.