The Notation Chinese 4th Poem of 5

Listing No: 4096

Other Images

  • CHUBO-23121 the notation a by BB.JPG
  • CHUBO-23121 the notation b by BB.JPG
  • CHUBO-23121 the notation c by BB.JPG
  • CHUBO-23121 the notation d by BB.JPG
  • CHUBO-23121 the notation e by BB.JPG
  • CHUBO-23121 the notation f by BB.JPG

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Valley House Gallery

Dallas, TX

Valley House Gallery

6616 Spring Valley Road

Dallas, TX 75254

972-239-2441
gallery@valleyhouse.com

Please have the item listing number on hand when you call. This artwork's listing number is: 4096

Artwork Info

FAE Listing No:
4096
Artist:
Otis Huband (1933-)
Title:
The Notation Chinese 4th Poem of 5
Date of Work:
circa 1989
Signature:
"Otis" at lower right
Where Produced:
Houston, Texas

Artwork Medium

Type:
Mixed-Media
Sub Type:
Collage
Medium:
Mixed-Media
Support:
on Canvas

Artwork Size & Weight

Primary:
40.25 x 30.25 in.

Artwork Condition

Condition:
Recto: All collage elements appear to be fresh and stable. The white area around the college appears unevenly modeled and has the appearance in areas of being dirty. Cleaning tests indicated that although some of the white canvas areas did clean easily, others did not. When asked, the artist did not feel that these darker areas seriously altered his conception of the artwork. Verso: Canvas appears to be in good condition.

Artwork Provenance

Provenance:
This work came directly from the artist.

About this Piece

In the late 80’s Huband created a series of large collages mounted to canvas using newspaper stock quotes, torn paper bags and fragments of drawings from art books and magazines. He would also occasionally add one of his own drawings into the mix. This is an example of work from this period. Today, Huband creates collages every day as part of his practice to get himself ready to paint.

About the Artist

Artist Statement

I am an artist who works from the inside out rather than from the outside in. I do not try to duplicate reality, but to interpret what I see and create a separate, new and personal reality.

Both subject and style of my work evolve from the manipulation of the materials from which it is made and is subject to radical changes throughout its evolution.

A painting is begun with no prior plans or ideas but rather to find out what will reveal itself once I am involved with it.

I believe in the physical uniqueness of a work of art as separate from what it represents, if anything. In my opinion a painting of an apple should not look like an apple but like a painting of an apple. Thereby insisting on the painting being a separate reality and not a reproduction or copy.

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