Starvation
1984 - Present
Description
Starvation is an expressionist painting full of emotions and distress. The canvas is crowded with human figures moving in lines and clusters, carrying white bags, suggesting forced procession and actions. It is an expression of displacement and endless waiting. The dominant blues create a cold, oppressive atmosphere, while violent strokes of red, black, and ochre cut through the surface, signaling pain, danger, and instability. The ground itself seems to burn and fracture, with swirling, flame-like forms at the bottom of the composition, as if hunger has ignited the land. Perspective is unsettled: figures recede into the distance yet remain trapped in repetition, reinforcing a sense of endlessness and systemic suffering. There are individual faces, which suggest collective suffering and oppression.
Artist Notes
Starvation is not about food, but also about oppression. I painted this work when the Israeli weaponize the food in Gaza, killing thousands. The figures are the people, the colors of oppression, the destruction, the death, and the bodies. This painting isa witness of weaponization of food, and for silence. I painted this with a heart full of sadness and tears.
Preservation Notes
MATERIALS AND CONSTRUCTION Starvation is a physical painting, not a digital-native work. The medium is recorded as acrylic on paper canvas, at 43 x 30 cm. The record describes a crowded, expressionist composition of human figures in lines and clusters carrying white bags, worked in dominant blues cut through by violent strokes of red, black and ochre, with swirling flame-like forms at the lower edge of the composition. The materials array has been derived from the medium field alone (acrylic paint on a paper canvas support); no varnish, sealant, ground or collage element is documented for this work. No claim is made here about the current physical condition of the surface, which has not been examined. CONSERVATION REQUIREMENTS The stated support is paper canvas, which is vulnerable to cockling, edge tears and creasing. Store and display the work flat; never roll it. Window-mount with acid-free, lignin-free board and hinge with Japanese tissue and starch paste. Do not dry-mount and do not use pressure-sensitive tape at any point. Handle by the mount or along supported edges rather than by the sheet itself, and keep the work in stable relative humidity away from direct sunlight. Surface cleaning, if any is required, should be limited to a soft dry brush; do not apply solvents to acrylic paint films. UV-filtering glazing is recommended for any display or long-term framing. The saturated reds, yellows and oranges in this composition are the passages most at risk of fading and should be monitored. DIGITAL RECORD The original capture for this work was scanned in Sweden as a TIFF master in high, medium and low resolution variants. Those TIFF masters are held outside this archive; the file uploaded here is a converted derivative. CURRENT ASSET: JPEG, 801 x 569 pixels, 145 KB. Maximum reproduction size at 300 DPI is approximately 2.7 inches on the long edge. WARNING: This file is a low-resolution derivative and is inadequate for print reproduction or detailed study. The high-resolution TIFF master must be sourced and uploaded before this work is sold, printed, or reproduced. Sanity accepts TIFF uploads directly, so no conversion is required for ingest: upload the high-resolution TIFF master as the primary image and retain the medium and low resolution variants in the gallery field, which is currently unused on this record.