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Gilbert Govinder Nazran Limited Edition 79/600 - Mounted and Framed 60x75cm My art training
Beschreibung
Gilbert - Govinder Nazran Limited Edition 79/600 - Mounted and Framed 60x75cmArtist Statement My art training began in Bradford in the North of England, where I studied Graphic Design from 1980 to 1983. I then went on to study for a Higher Diploma in Graphic Design, specializing in illustration, at Lincoln Art College. Once I completed all my formal training I decided to move to London, approaching all of the major city publishers with my portfolio. It was there that I worked on illustrations for children’s books and after 6 months moved to Cambridge where I continued working as a freelance illustrator.Shortly after, I moved back to my home town of Saltaire in West Yorkshire, taking up the position as a designer for a greetings card company where I was also involved in product design and development. Following that, I was involved in directing photo shoots and later became a photographic art director, traveling all over the world, for the next year, on fashion shoots. In 1993 I gave up my photographic job and spent the next five years working freelance on card designs with major publishers. It wasn’t until 1999 when I decided to enter the fine art market and approached Washington Green with my portfolio. They have since published over 40 of my designs and are currently developing some of my art into sculpture. IDEAS & INSPIRATIONS “If you don’t want anybody to know anything about you – don’t write a song!” I can’t remember where I heard this quote but it serves well to explain how one’s personality is revealed through a song, or in my case, a painting.I’m naturally a shy person and find it difficult to articulate my thoughts verbally. When I’m put on the spot and asked to explain my work, I usually end up a gibbering wreck, cursing myself later for my lack of verbal dexterity. My true personality reveals itself through my paintings. Many of my paintings are about good and evil – innocence and malevolence. When I was a child I remember believing what a wonderful and happy place the world was. I loved to learn about other people in other countries and wanted to visit them all.Of course, I now realize things aren’t quite as I once imagined, and the once distant places where I so wanted to be, are not so far away; they are actually on my doorstep. The world is a place where the innocent pay the heaviest price. It affects me deeply. It’s like living in the garden of ‘Good and Evil’. I can’t ignore it, so I depict it in the form of these innocent pictures. I leave it to the individual to look at my paintings and choose what they would like to see, innocence or malevolence – the good or the evil! Above all else, I am, and always will be, an eternal optimist. Optimism is one of the greatest gifts we possess. When I think about it, I think of the song ‘Fields of Gold’ by Sting – the lyrics sum it up!These two opposing juxtapositions ultimately explain many of my paintings. Look at the ones which have malevolent titles, mainly the evil cats. To me they are representations of evil. However, at first glance, the impression they exude is optimism. The wide-eyed cats and dogs always look petrified and are representations of the innocents. You can choose to see these paintings any way you like. See love and happiness or death and the Devil, it doesn’t matter so long as you see something and connect with it. You get the most from a painting if it connects with you. When you look at an abstract painting, you can see nothing or you can see it all – it’s either for you or it isn’t! For me this simple philosophy sums up what is art and what is not – you either like it or you don’t! My paintings are from my soul and I hope, honest. FROM PALETTE TO PICTUREBefore I begin a painting, I start with a very rough preliminary colour sketch, which I may have done weeks or months ago. I keep my sketches along with notes and ideas in dozens of sketchbooks. The books are overstuffed with ragged bits of paper containing ‘those thoughts’ that just pop into your head unannounced at the strangest times. With the aid of my sketches, I know exactly what I’m going to paint when I’ve pinned up my canvas. It is very spontaneous. I have all my colours pre-determined. I use solid oil bars directly onto canvas, manipulating the paint with my fingers, using no brushes. The paint reacts with the heat from my fingers and the more you work it, the more fluid it becomes. It’s a wonderful and unusual medium to work with. Composition usually begins life as pure abstract shapes. Flow of line and form, as well as ‘negative shapes’, are important here. I also look for connections between shapes and link them with connecting lines.The balance and harmony of colour pull the whole composition together. The end result is part defined and part abstract. In my ‘pure’ abstracts I look to nature and emotion, and build on that. From life seen through the window of a speeding car or the blurred reflection of a city seen through bleary eyes, to the depiction of a single moment of intense emotion expressed through layers of paint. It’s a very pure art form.
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Gilbert - Govinder Nazran Limited Edition 79/600 - Mounted and Framed 60x75cmArtist Statement My art training began in Bradford in the North of England, where I studied Graphic Design from 1980 to 1983. I then went on to study for a Higher Diploma in Graphic Design, specializing in illustration, at Lincoln Art College. Once I completed all my formal training I decided to move to London, approaching all of the major city publishers with my portfolio. It was there that I worked on illustrations for children’s books and after 6 months moved to Cambridge where I continued working as a freelance illustrator.Shortly after, I moved back to my home town of Saltaire in West Yorkshire, taking up the position as a designer for a greetings card company where I was also involved in product design and development. Following that, I was involved in directing photo shoots and later became a photographic art director, traveling all over the world, for the next year, on fashion shoots. In 1993 I gave up my photographic job and spent the next five years working freelance on card designs with major publishers. It wasn’t until 1999 when I decided to enter the fine art market and approached Washington Green with my portfolio. They have since published over 40 of my designs and are currently developing some of my art into sculpture. IDEAS & INSPIRATIONS “If you don’t want anybody to know anything about you – don’t write a song!” I can’t remember where I heard this quote but it serves well to explain how one’s personality is revealed through a song, or in my case, a painting.I’m naturally a shy person and find it difficult to articulate my thoughts verbally. When I’m put on the spot and asked to explain my work, I usually end up a gibbering wreck, cursing myself later for my lack of verbal dexterity. My true personality reveals itself through my paintings. Many of my paintings are about good and evil – innocence and malevolence. When I was a child I remember believing what a wonderful and happy place the world was. I loved to learn about other people in other countries and wanted to visit them all.Of course, I now realize things aren’t quite as I once imagined, and the once distant places where I so wanted to be, are not so far away; they are actually on my doorstep. The world is a place where the innocent pay the heaviest price. It affects me deeply. It’s like living in the garden of ‘Good and Evil’. I can’t ignore it, so I depict it in the form of these innocent pictures. I leave it to the individual to look at my paintings and choose what they would like to see, innocence or malevolence – the good or the evil! Above all else, I am, and always will be, an eternal optimist. Optimism is one of the greatest gifts we possess. When I think about it, I think of the song ‘Fields of Gold’ by Sting – the lyrics sum it up!These two opposing juxtapositions ultimately explain many of my paintings. Look at the ones which have malevolent titles, mainly the evil cats. To me they are representations of evil. However, at first glance, the impression they exude is optimism. The wide-eyed cats and dogs always look petrified and are representations of the innocents. You can choose to see these paintings any way you like. See love and happiness or death and the Devil, it doesn’t matter so long as you see something and connect with it. You get the most from a painting if it connects with you. When you look at an abstract painting, you can see nothing or you can see it all – it’s either for you or it isn’t! For me this simple philosophy sums up what is art and what is not – you either like it or you don’t! My paintings are from my soul and I hope, honest. FROM PALETTE TO PICTUREBefore I begin a painting, I start with a very rough preliminary colour sketch, which I may have done weeks or months ago. I keep my sketches along with notes and ideas in dozens of sketchbooks. The books are overstuffed with ragged bits of paper containing ‘those thoughts’ that just pop into your head unannounced at the strangest times. With the aid of my sketches, I know exactly what I’m going to paint when I’ve pinned up my canvas. It is very spontaneous. I have all my colours pre-determined. I use solid oil bars directly onto canvas, manipulating the paint with my fingers, using no brushes. The paint reacts with the heat from my fingers and the more you work it, the more fluid it becomes. It’s a wonderful and unusual medium to work with. Composition usually begins life as pure abstract shapes. Flow of line and form, as well as ‘negative shapes’, are important here. I also look for connections between shapes and link them with connecting lines.The balance and harmony of colour pull the whole composition together. The end result is part defined and part abstract. In my ‘pure’ abstracts I look to nature and emotion, and build on that. From life seen through the window of a speeding car or the blurred reflection of a city seen through bleary eyes, to the depiction of a single moment of intense emotion expressed through layers of paint. It’s a very pure art form.
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1. Application of these General Conditions
1.1 In these general conditions the expression "the Auctioneer" includes his
employees and agents and any person to whom conduct of the Auction is
delegated under clause 5.11 below.
1.2 These General Conditions apply to every Auction of Plant and Machinery, Chattels, Trade Stocks and Vehicles conducted by the Auctioneer and to any Lot offered for sale in the Auction whether that Lot includes property fixed to land or not fixed to land or any other personal property.
1.3 If these General Conditions have not previously been accepted by a person attending or bidding at an Auction, bidding for any Lot in the Auction shall be deemed to be an acceptance by the Bidder of these General Conditions.
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(a) if the Auction is held in Scotland, in accordance with the law of
Scotland;
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(c) the premises where the Auction is to be held (if not the Auctioneer's premises) will be safe for that purpose and that it will be lawful to hold the Auction there.
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(b)to give the warranties set out in clause 2.1 above;
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4. Bidding on behalf of Another
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5. Conduct of the Auction
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5.4 The Auctioneer may at any time before the fall of the hammer withdraw or divide any Lot or combine any Lots.
5.5 With the previous consent of the Seller, the Auctioneer may sell any Lot by private sale before or after the Auction.
5.6 The Auctioneer may require any Bidder to give his name and address and proof of identity before accepting a bid.
5.7 The Auctioneer may reject any bid at his sole discretion and without being required to give a reason.
5.8 The Buyer shall be the person who made the highest bid before the fall of the hammer or such other person as the Auctioneer may declare to be Buyer without being required to give a reason.
5.9 The Auctioneer may decide whether there is a dispute between Bidders, may summarily determine the dispute or immediately again offer the Lot for sale, in each case without being required to give a reason.
5.10 The Auctioneer shall in every other respect decide how the Auction is to be conducted and without being required to give a reason.
5.11 The Auctioneer may in his sole discretion delegate to a person whom he believes to be competent the conduct of the Auction in accordance with these General Conditions
6 After the Sale
6.1 Upon the Auctioneer declaring any Lot sold, the buyer shall immediately:-
(a) give the Auctioneer his name and address and if requested his proof of
identity;
(b)identify any person on whose behalf he has bought;
(c)pay to the Auctioneer if requested a deposit of up to 25 per cent of the price.
6.2 Within the time specified in clause 6.3 below, the Buyer shall pay the following sums to the Auctioneer in full:-
(a)the balance of the price of all Lots purchased together with any VAT due;
(b)the value as summarily determined by the Auctioneer, whose determination shall be final and binding, of all or part of any Lot or of the premises where the Auction is held which has been damaged or destroyed by the Buyer or his principal or agent.
6.3 The time for complying with clause 6.2 above shall be the time specified in the Auction catalogue or if no time is specified there, 4pm on the next working day, and in every case time shall be of the essence.
6.4 The Auctioneer may at any time in his sole discretion grant the Buyer an extension of time for complying with clause 6.2 above, in which case the Buyer shall pay the Auctioneer in full before moving or removing the Lot interest on any unpaid sums at a rate of 4 per cent above Barclays Bank Plc base rate in force from time to time.
6.5 Until the Buyer has complied with clause 6.2 above:-
(a)title to any Lot bought shall not pass to the Buyer;
(b)the Lot shall be at the Buyer's risk;
(c)the Auctioneer shall have a lien over any Lot bought by the Buyer in the Auction;
(d)if the Buyer effects or purports to effect a resale or any other disposition of all or part of the Lot, the Buyer shall hold the proceeds of resale or other disposition on trust for the Auctioneer and Seller.
6.6 On written request by the Buyer the Auctioneer shall provide a VAT invoice in proper form, if appropriate.
7. Removal of the Lot bought
7.1 The Buyer may not remove any Lot he has bought until after the end of the Auction.
7.2 The Buyer may not remove any Lot until the Buyer has paid the sums specified in clause 6.2 above in full for every Lot he has bought.
7.3 After paying the sums specified in clause 6.2 above, the Buyer must remove the Lot bought by the time specified in the Auction Catalogue or if no time is specified there, 5pm on the next working day, and in every case time shall be of the essence.
7.4 The Auctioneer may at any time at his sole discretion and on terms specified by him grant the Buyer an extension of the time specified in clause 7.3 above.
7.5 If the Lot bought is or includes a motor vehicle, no warranty is given that the vehicle may safely or lawfully be driven on the road.
7.6 When removing any Lot the Buyer:-
(a) is responsible for detaching any Lot fixed to land and must do so safely and lawfully and must not use flame cutters, explosives or any other dangerous equipment or process without previous written permission signed by or on behalf of the Auctioneer;
(b) must use safe and lawful means of removing the Lot;
(c) shall indemnify the Auctioneer and Seller against any loss damage legal or other expenses and any claim arising from the detaching of the Lot or its removal.
(d) shall have insurance in respect of such indemnity and shall on request produce to the Auctioneer a receipt for the last premium due or other sufficient evidence that such insurance has been effected and remains in force.
8. Default by the Buyer
8.1 If at any time the Buyer has failed either to pay the sums specified in clause
6.2 above in full by the expiry of the time specified in clause 6.3 above (or any extension granted under clause 6.4 above), or to remove any Lot by the time specified in clause 7.3 above (or any extension granted under clause 7.4 above) the Auctioneer may rescind the Sale of that Lot, in which case any deposit shall be forfeit, and that Lot may be resold by auction or privately.
8.2 If the Auctioneer has rescinded the sale but the Buyer has removed the Lot bought, the Auctioneer shall be entitled without previous notice to enter upon any premises where he believes the Lot to be and remove it.
8.3 If the Auctioneer has rescinded the sale and the Lot has been resold, the Buyer shall make good any deficiency, namely:-
(a) the sale price less the resale price;
(b) the costs of and incidental to resale.
8.4 If because the Buyer has failed to remove any Lot by the time specified in clause 7.3 above (or any extension granted under clause 7.4 above), the Seller is unable to give vacant possession on disposing of or relinquishing any interest in the premises from which the Lot should have been removed, the Buyer shall compensate the Seller for any loss resulting.
9. Liabilities and Indemnities
9.1 The Auctioneer warrants that he believes that the Seller of each Lot is able to pass good title, and if the Seller is not able to do so, the Auctioneer shall use his reasonable endeavours to assist the Buyer in obtaining good title and in pursuing any remedies the Buyer might have against the Seller, but the Auctioneer shall not be bound to initiate litigation and shall not be under any other obligation to the Buyer.
9.2 Every Lot is sold as seen and where lying.
9.3 No Lot is sold as compromising or including any new goods.
9.4 The Auctioneer neither has nor professes any expert or other knowledge of any Lot sold and is hereby excluded any liability the Auctioneer might otherwise incur and any right or immunity the Buyer might otherwise possess in respect of any conditions warranties or representations relating to the condition of any Lot sold or the merchantable quality of the Lot or its fitness for the particular or any purpose for which it is or may be required whether such conditions warranties or representations are expressed or implied in the Auction Catalogue or are the subject of oral or written statements made by or on behalf of the Auctioneer or any other person before or in the course of the Auction.
9.5 No liability shall attach to the Auctioneer either in contract or in tort for loss, injury or damage legal or other expenses sustained by the Seller, any Bidder, the Buyer or any other person by reason of:-
(a) any defect in any Lot sold, whether or not such defect be latent or apparent on examination;
(b) any defect or danger of the premises where the Auction is held;
(c) any alleged failure of the Auctioneer to properly advertise the Auction or to seek or obtain expert legal advice with regard to any Lot offered for sale or its reserve price;
(d) any act or omission of the Auctioneer in the conduct of the Auction or after the Auction;
(e) any act or omission of any person other than the Auctioneer.
9.6 The Seller shall indemnify the Auctioneer in respect of any claims made by another or third party for any loss injury damage or legal or other expenses referred to in clause 9.5 above.
9.7 The Auctioneer shall not be liable to indemnify the Seller or any Bidder or the Buyer in respect of any claims made by another or third party for any loss injury damage or legal or other expenses referred to in clause 9.5 above.
9.8 Clauses 9.3 to 9.7 shall not be valid insofar as prohibited by statute.
9.9 In no circumstances shall the Auctioneers be liable for any consequential damage.
10. Waiver
10.1 No indulgence shown by the Auctioneer shall prevent the Auctioneer or the Seller from subsequently insisting upon their respective rights and remedies.
11. Special Conditions
11.1 Viewing is strictly by appointment only with the auctioneers directly.
11.2 Purchasers are required to pay lift out charges and removal costs associated
with individual lots and must discuss same prior to bidding with the auctioneers to establish cost of same.
11.3 VAT is payable on all lots, lift out charges and buyers premium
