Between Two Worlds

Description

Artist Notes

Early 2024, the genocide in Gaza was clear and Israeli genocidal army acted with full impunity and support and complicity of many in the Western World. I had imagiend this as a divide between two worlds. World of justice and resistance, and a world of evil and murder. To paint it, I needed only one brush and two colours. It was whit and black. It is Gaza facing the world of evil.

Preservation Notes

MATERIALS AND CONSTRUCTION This is a physical work of art, part of a collection of physical paintings and collages; it is not digital-native. The record carries no medium and no materials entry, so the support and the paint system cannot be stated from this record's own text and must be established by physical examination. Recorded dimensions are 40 cm high x 50 cm wide x 2 cm deep; the recorded depth indicates a mounted, panel or stretched support rather than a loose sheet, but the material of that support is undocumented here. The composition is described in the record as an abstract, symbolic treatment of the fragmentation of humanity and collective memory during the Gaza genocide: on the right a human face fractured into sharp geometric shapes, suggesting the disintegration of humanity; on the left flocks of black birds in flight, symbolising lost souls, displacement and death hovering over Gaza under the Israeli occupation; and a dark jug at the base evoking irreparable loss and emptied memory. No statement is made here about the present condition of the surface, as nothing in this record supports one. CONSERVATION REQUIREMENTS Because the support is not recorded, a single treatment protocol cannot be fixed until it is confirmed; the two likely supports require different handling, so no framing, mounting or cleaning work should be commissioned before the support is verified. If the support is linen or composite canvas with acrylic and a polymer sealant: the work is stable. Keep it in stable relative humidity, avoid direct sunlight, dust with a soft dry brush only, do not use solvents on sealed acrylic surfaces, and support the stretcher when handling. If the support is paper or a paper-canvas board: the work is vulnerable to cockling, edge tears and creasing. Store and display it flat and never rolled, window-mount it with acid-free lignin-free board, hinge with Japanese tissue and starch paste, and use no dry-mounting and no pressure-sensitive tape. In all cases use UV-filtering glazing. Saturated reds, yellows and oranges are the passages most at risk of fading. DIGITAL RECORD The original capture for works in this collection was scanned in Sweden as a TIFF master in high, medium and low resolution variants, with the masters held outside this archive, and the uploaded file is normally a converted PNG or JPEG derivative. This record is the exception: the asset held here is the genuine high-resolution TIFF master itself, not a converted derivative, and it is the only record in the collection in that position. It should be treated as the reference standard that the rest of the collection is expected to match. CURRENT ASSET: TIFF, 6011 x 4800 pixels, 84,558 KB. Maximum reproduction size at 300 DPI is 20.0 inches on the long edge. HIGH: the current file is adequate for reproduction up to that size, and here the TIFF master, which remains the preferred archival copy, is already the file in place. Sanity accepts TIFF uploads directly, so masters can be uploaded without conversion; no conversion step was ever required for this collection. The high-resolution master should be retained as the primary image, and the medium and low resolution scan variants should be uploaded into the gallery field, which is currently unused on this record, so that all three variants are held together. OUTSTANDING VERIFICATION 1. medium absent: no medium is recorded for this work, so neither the paint system nor the support is documented. 2. materials absent: the materials array is empty and could not be populated, because neither the medium field nor the description names any material; materials must be supplied by the artist or by physical examination. 3. Support undetermined: the record gives no statement of support at all, so the canvas-versus-paper question cannot be resolved from the documentation. Physical examination is required to resolve it, because canvas and paper supports require different treatment, mounting and storage regimes. yearCreated (2025), dimensions (40 x 50 x 2 cm), location (Cincinnati Ohio USA) and description are all present on this record and are not in question.

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