Recycled Icon # 1 (2022)

This contemporary artwork is the found original old orthodox icon decorated with oil color dots. The artwork is not framed. It is signed, titled, and dated on the back.

Ships with EMS (Express Mail Service) worldwide.
All works of art are carefully packed and can be tracked online. Original artworks and mounted prints are shipped in a wooden crate. Unmounted paintings and prints are shipped in a dent-resistant tube.
Shipping times vary depending on the destination country but usually take between two and three weeks. Please allow for these up to 5 business days of preparation and packaging time before the artwork is shipped out.

PLEASE NOTE: The buyer will be responsible for paying international customs fees, determined by the country in which the artwork is being shipped to. Please check with your country's customs office to determine what these additional costs will be prior to making a purchase.

Each piece you purchase will come with a certificate of authenticity, a signed document proving the authenticity of the work and containing details about the artwork for your reference.

This artwork is the part of my new series of works in which I try to re-contextualize religious objects. By retooling the religious work of art, I intend to add new layers to the original. Through the manipulation of these objects, I mean to acknowledge, to underscore, that religious images can, and often do, manipulate us. In so many innumerable ways, the painting becomes a unit of measure of our own worth—I wish to subvert and question this measure. Apart from an interrogation of religious art and its history, my work is also an investigation of mark-making and, by extension experimentation in composition, color, and form. I am curious about the use of marks to signify complicated contextual queues and to signify potentially life-altering deliberation. Peripherally, I am interested in color dis/harmony and the function of color and forms (either together or separately) to convey purpose, meaning, and experience. Through a variety of media, I have chosen as my inspiration a color palette that is at times complementary and, at other times, purposefully contradictory or seemingly “destructive.” The material destruction of an object is subordinate or altogether inferior, in my mind, to the overall effect created by the aesthetic-emotional experience of the reclaimed and marked object or image. I openly play with the allure of foreign and aggressive new colors and forms, inviting these technical elements into the otherwise undisputed familiar and traditional visual territory. Barriers and obstacles are thereby erected between the viewer and the object through which one must negotiate an understanding of what is both present and hidden. What does the creation of new meaning tell us about old meanings or meaning in general? Despite everything, and true to my postmodern roots, in the end, as in the beginning, I leave the activity, reception, and understanding of my work entirely in the viewer’s hands. It is meant to mean different things to different people who are at different stages of understanding.