Ana Linnemann
Natureza-morta (fruteira e maçã), 2018-2022
fruteira de ceramica esmaltada e maçã
[enameled ceramic fruit bowl and apple]
[enameled ceramic fruit bowl and apple]
30 x 30 x 4 cm
[11 3/4 x 11 3/4 x 1 5/8 in]
[11 3/4 x 11 3/4 x 1 5/8 in]
Copyright O Artista
Mais imagens
-
(View a larger image of thumbnail 1
)
-
(View a larger image of thumbnail 2
)
-
(View a larger image of thumbnail 3
)
-
(View a larger image of thumbnail 4
)
-
(View a larger image of thumbnail 5
)
-
(View a larger image of thumbnail 6
)
-
(View a larger image of thumbnail 7
)
-
(View a larger image of thumbnail 8
)
Este trabalho é parte da série 'O Mundo como uma Laranja', que compreende um grande número de objetos familiares. Baldes e relógios, xícaras e vassouras, sapatos e bules são descascados,...
Este trabalho é parte da série "O Mundo como uma Laranja", que compreende um grande número de objetos familiares. Baldes e relógios, xícaras e vassouras, sapatos e bules são descascados, fatiados e picados como frutas e legumes sobre uma bancada de cozinha. Fronteiriços, esses objetos desobedientes, divorciados de sua função anterior, indicam uma segunda natureza possível e, ao introduzir pequenos desvios na experimentação do cotidiano, perturbam alguns códigos que organizam nossa percepção.
This work is part of the series "The World as an Orange", which includes a vast array of familiar objects. Buckets and clocks, cups and brooms, shoes and coffee pots are peeled, sliced and chopped like fruit and vegetables upon a kitchen counter. Divorced from their previous function, these disobedient borderline objects indicate a possible second nature and, by introducing slight deviations from our everyday experience, upset some of the codes that organize our perception.
This work is part of the series "The World as an Orange", which includes a vast array of familiar objects. Buckets and clocks, cups and brooms, shoes and coffee pots are peeled, sliced and chopped like fruit and vegetables upon a kitchen counter. Divorced from their previous function, these disobedient borderline objects indicate a possible second nature and, by introducing slight deviations from our everyday experience, upset some of the codes that organize our perception.