21/11/2022
Detail of 'Autosarcophagy' - acrylic on canvas - 120cm x 100cm - 2009
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James Roper Art
- Home
- James Roper Art
Psychedelic Artistic Mystic
20/11/2022
The Involuted Negator
acrylic on canvas
77cm x 100cm
2010
19/11/2022
'Glossolalia' - acrylic on canvas - 150cm x 142cm - 2008
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15/11/2022
Animations of my 'Imaginal Cells' collages using the Capcut app
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30/10/2022
Imaginal Cells No.17
26/10/2022
Having seen so much computer generated art in the NFT space over the past 2 years I've been feeling a real need to increase my artworks sense of connection to the tactile embodied energies of our world.
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For over 17 years the imagery that I used to collage my compositions with was sourced from the vast virtual ocean of the Internet.
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In order to move beyond the edges of my narrow screen-captured vision I've now decided to cast my own small net, into much more local and real waters.
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From farmland hedgerows and small stoney beaches, to garden flowers and passing cloud formations. Momentary encounters that we can all very easily pass by and miss, I now wish to fold and weave directly into the body of my work.
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Alongside the artwork that emerges from this new exploration I'll also be documenting the process and journeys I take, to give the work much more depth and context, an aspect that I think CGI artwork often lacks.
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I also hope to encourage you to go out and encounter the wild world as well, beyond this digital filter.
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But you won't see this new work on my social media for a while. As you may have noticed from my recent absence, I'm increasingly not a fan of these spaces.
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I'm now posting all my new work over on my brand new Patreon page:https://www.patreon.com/jamesroperart
It's a specially curated private space where you can dive a lot deeper into my process, without being pummeled by advertising or manipulated by algorithms.
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There's also plenty of extra benefits for patrons, including prints of your choice on every tier: https://www.patreon.com/jamesroperart
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Thank you for taking the time to slow down and read 🙏💗 I'd say if you've read this far you'll probably love my Patreon 😊
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Photograph of me photographing were taken by photographer and phriend Andrew Brooks
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26/10/2022
made by human intelligence
'Brainwasher'
100cm x 100cm
2010
25/10/2022
I collated all the imagery for these paintings by trawling through thousands of images online and combining them into semi-abstract compositions. Or to put it more succinctly, it's human generative art / h.i. art
21/10/2022
Autosarcophagy
120cm x 100cm
2009
19/10/2022
I've been working on a few things behind the scenes that will allow you to see what I'm up to more regularly, without the need for social media, something I wish to move away from for numerous reasons. Sign up to my newsletter to find out more tomorrow: http://bit.ly/jamesropersub
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18/10/2022
Bound before the source
105cm x 100cm
2008
30/09/2022
This Saturday, October 1st, I'll be showing a painting from my Metanoia series as part of the Cotton On Manchester exhibition 'Catapult' at Whitworth Locke in Manchester city centre.
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I don't exhibit my work very often these days, so this will be a good opportunity for my fellow Mancs to see my work IRL and have a chat with me in person.
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I'll also be doing a short talk about my work along with some of the other artists on the night.
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I hope to see you there.
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Opening Night
Saturday, October 1st
6-9pm
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Location:
Whitworth Locke, Civic Quarter
74 Princess Street, Manchester
M1 6JD
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Open everyday until Saturday 29th October
Free to attend
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P.s. Please sign up to my newsletter to see all my new artwork: http://bit.ly/jamesropersub I'm increasingly not a fan of social media 🤨 hence my absence.
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07/06/2022
'Imaginal Cells 56'
✂️ 2021
06/06/2022
'Imaginal Cells I'
🎨🖌 2019
31/05/2022
'Lixxil' & 'Sylys'
🎨🖌 2012
30/05/2022
'Hysteresis'
🌊 2013
26/05/2022
'Brainwasher'
🎨 2010
24/05/2022
'Atomizer' detail
🔎 2008
23/05/2022
'The Dual'
🎨 2016
18/05/2022
'Envoyer très haut'
✒ 2015
(click on the image, this one's biiiiiig)
15/05/2022
'As if from nowhere' detail
✒ 2005
12/05/2022
'Metanoia VII' detail
🎨 2019
10/05/2022
Detail of 'Dark Ground Illumination'
🎨 2009
09/05/2022
'Litha'
🌸 2018
08/05/2022
'Bound before the source'
🎨 2008
07/05/2022
Imaginal Cells No.1
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04/05/2022
I've decided to release 1/1 NFTs on the Ethereum block chain 😱 After a lot of consideration and research (I've been looking deeply into this for the past 2 years 🤯) I've come to the realisation that the carbon footprint of selling an NFT on Ethereum is well over 3 times more energy efficient than one of my paintings, taking all energy use into consideration:
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🚗 My travel to the studio over a 3 month period
⚡Electricity use in my studio: lights, laptop, heating
🚛 Transport to galleries and art fairs
✈ Shipping to collectors
🎨 Art materials production: canvas, wooden stretchers, paints, brushes, turps etc.
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There are a lot of grey areas and false equivalences with regards to NFTs and energy consumption being thrown around online (believe me, I've read most of them!). I feel there needs to be more of an open dialogue (rather than a two-sided argumentative debate) around this subject.
When we discuss any devisive subject we need to be open to complexity and nuance, taking all factors into consideration, rather than slipping into narrow-minded black and white views.
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There are a lot of other discussions that NFTs also bring up:
- Is tying artwork to decentralized financial commodites a good thing?
- Do we rely on technology too much to build our culture?
- How healthy is it to track every aspect of our lives in terms of our carbon emmisions? etc. etc.
All of which I've been considering while engaging in the NFT space.
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In light of this I've also been thinking about putting down my paintbrushes and only releasing large scale works digitally, alongside 1/1 edition prints. Here's a few reasons why:
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🧠 If you've been following me for a while you'll be aware that in the past I've suffered from severe depression. It's an issue I'm still dealing with and I'm becoming aware that sitting in my studio alone for over 45 hours a week, which I've done for the past 15 years, has been a major contributer to my mental health problems. I'm starting to need a break from the highly intensive mode of working that painting demands.
☣ The idea of breathing in fumes from white spirit and distilled turps for the rest of my life doesn't sit well with me. Long term exposure can cause problems in the lungs including cancer.
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🤸♂️ I have lower back problems from sitting for prolonged periods of time. I've been able to fix it to a degree, but I don't believe it's natural for any of us to sit for hours on end each day. Pain in the body is a natural mechanism to tell us something isn't right.
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💨 If I'm not painting I don't have to drive into the studio everyday and instead work from home, which as well as reducing the use of my car (I don't live close enough to cycle) frees up my time to create more art! I also find driving quite stressful.
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🍃 As you may have seen in a previous newsletter my new work will take me into nature a lot more which has numerous positive aspects. This will also include walking with my friends more often 😊 I'm not quite the person I was 10 years ago, able to sit for prolonged periods of time alone in my studio.
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I could talk about these subjects forever but hopefully this snapshot gives you an idea of where my thinking is coming from. Hopefully you'll let me know your own thoughts in the comments. Thanks for reading this far 😊💗🙏
27/04/2022
'Nascita de Venere', oil on canvas 🎨 If you like this artwork please consider sharing this post. The algorithm isn't always that kind, so anytime you can help share the creativity of an artist you like it's always very much appreciated. Thanks 🙏💚
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'Nascita de Venere' is now available as a signed limited edition print of 20 only 👉 https://jamesroperart.store/collections/limited-editions/products/nascita-di-venere-emergence-ii
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20/04/2022
With all the cherry blossoms in full bloom it feels like the perfect time for another 'Floating Worlds' print release.
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One of my favourite poets Matsuo Basho (1644-1694), famous for his haiku poems, refers to the different seasons throughout his work.
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His poetry, like most Japanese art, is minimal in content but rich in invoking direct experience of the natural world and the melancholy that often infuses the fleeting moments of everyday life.
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Below are a few of my favourite Basho haikus:
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Skylark sings all
day, and day
not long enough.
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Dew-drops -
how better wash away
world's dust?
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Under the cherry -
blossom soup,
blossom salad.
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The old pond
A frog leaps in.
Sound of the water.
Spring rain
leaking through the roof
dripping from the wasps' nest.
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Based on some feedback from my 'Prima Materia' series I've made sure the larger sizes in this series are all the same height so they hang well as a set together.
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As always every print comes hand signed, numbered and embossed with my unique artists stamp.
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This series is only available to my subscribers. Sign up here 👉http://bit.ly/jamesropersub and you'll recieve a link to the private print collection in the confirmation email.
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🌸
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28/03/2022
Either the A.I. overlords don't like me posting images with text or I don't have that many tarot fans out there 💔 Either way here's my design for the Seven of Pentacles sans text. If you would like to dive deeper into the meaning behind this work you can now follow the mystical me over at 👉
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22/03/2022
Detail of my new subscribers only print 'Floating Worlds III'. I'll be releasing this piece on Monday in my monthly newsletter, sign up via the link in my bio.
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🌊
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21/03/2022
The Chariot card highlights the different forces at play within us and the skill it takes to reign them in, so they can be put to good use.
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If we fail to gather in our energy and focus it in a specific direction we can be easily left in limbo, spinning our wheels.
⠀
• Control
• Direction
• Drive
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🃏
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17/03/2022
Experimentation has been key to keeping things alive within my art. I could never paint the same imagery over and over like some artists do. Not that there's anything wrong with that, I just always prefered to push out into unknown waters and stretch myself, and that means making work that might not fit in with my 'brand' or feel imperfect in some way.
⠀
Moving away from trying to make everything perfect, both in my art and my life, has been something I've had to work on in order to stay somewhat sane. These digital experiments I posted a few years ago were a conscious step towards not being so pedantic about every aspect of my work and what I choose to show you.
⠀
P.s. If you actually read these posts I want to say a big thank you 🧡🙏 The algorithm on here these days is terrible and I don't feel like making endless reels of me dancing to Ariana Grande songs to appease the A.I. overlords.
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∞
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28/02/2022
Detail of 'Nascita de Venere (Emergence II)', oil on canvas 🎨🖌
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23/02/2022
Detail of 'Nascita de Venere (Emergence II)', oil on canvas 🎨🖌
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09/12/2021
I've been asked by many musicians to design album covers over the years, rarely do I say yes. But as an 80's kid and a huge fan of Jungian psychology, when the band Yatte () described their music to me as "yacht rock for shadow workers", I was all in 🎸🎶
⠀
They chose two pieces from my Imaginal Cells series. The visual feel of the whole series was definitely influenced by the 80's aesthetics of my childhood, so it felt to me more than fitting that they also released the two albums on cassette tape as well.
⠀
The floating formations of my recent work can be traced back partly to my youthful fascination with the album cover of Mike Oldfiled's Tubular Bells, created by Trevor Key. It was a cassette tape my parents owned when I was a child and would often listen to on car journeys (alongside my fav Jean Michel Jarre 💙). Full circle indeed 💫
⠀
You may also recognise that similar 'floating form above a landscape' composition from Trevor Keys artwork in two older works by the Surrealists René Magritte (The Castle of the Pyrenees) and Salvador Dalí (Meditative Rose), which have also been major influences on my recent work.
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∞
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06/12/2021
'Floating Worlds II' is only available to subscribers to my monthly newsletter. Sign up via the link in my bio and you'll get a link to a private print collection, plus 10% off your first order over £50.
⠀
Final print order dates for Christmas delivery:
⠀
Cyprus, Malta and Sweden
Dec 7th
⠀
Canada, Czech Republic, Finland,
Poland, USA, Eastern Europe (except
Czech Republic, Poland and
Slovakia) and Turkey
Dec 8th
⠀
Austria, Belgium, Denmark, France,
Germany, Iceland, Ireland, Luxembourg,
Netherlands, Norway, Slovakia, Spain,
Switzerland
Dec 13th
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United Kingdom
Dec 16th
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Australia, Greece, Italy,
New Zealand and Portugal
Africa, Central and South America,
Asia, Far and Middle East
Date now passed 😔
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🌸
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01/12/2021
This card represents the overflowing of emotion and channeling of the deep unconscious. The Ace card always represents the start of the journey within each suite. This fresh new blooming of emotions is similar to that of a new born child, that there can be great beauty in it's pure unrestrained expression, but equally a lot of unnecessary waterworks and turmoil.
⠀
Intuition • Emotion • Creativity
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🃏
⠀
25/11/2021
Japanese culture has always been a major influence on my artistic practice, as well as my personal life. From the dynamic and colourful imagery of Japanese animation that inspired my early painting and digital work, to my origami sculptures, as well as my deep interest in Zen meditation which I've been practicing for over 12 years.
⠀
I've always been fascinated by pre-modern Japanese culture specifically because it seems to exemplify how our normal day-to-day existence can be transformed into artful expression.
⠀
This everyday beauty is very much a focal point of the Ukiyo-e genre of Japanese art that was developed in the 17th century and flourished until Japan finally opened it's borders to the industrialised world. This time was known as the Edo period (1603 - 1867).
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Ukiyo-e translates as "pictures of the floating world". 'Floating world' was a Buddhist term referring to the fleeting nature of existence.
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The term was also used ironically to describe the hedonistic lifestyle of the wealthy merchant class who indulged in the entertainment of kabuki theatre, sumo wrestling, geisha, and courtesans of the yūkaku (red-light district), images of which were often depicted in woodblock prints.
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Flowing fabrics, natural forms and luxurious textures have always formed the basis of all my digital and painted compositions. These elements can all be found throughout the ukiyo-e genre.
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Following on from my 'Prima Materia' print collection which took similar elements from pre-20th century European paintings, the 'Floating Worlds' series now deconstructs and reimagines the pleasures and richness of Edo period Japan.
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Prints in this series are only available for subscribers to my monthly newsletter. Sign up here: http://bit.ly/jamesropersub and you'll get a link to access this private collection + 10% off your first order over £50
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🌊
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Address
Opening Hours
| Monday | 10:00 - 17:00 |
| Tuesday | 10:00 - 17:00 |
| Wednesday | 10:00 - 17:00 |
| Thursday | 10:00 - 17:00 |
| Friday | 10:00 - 17:00 |
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Videos
Painting the first layer of 'Emergence' (part 4 of 4), oil on canvas 🎨 🖌
Painting 'Emergence'
Painting 'Emergence', oil on canvas 🎨🖌
Painting 'Emergence', oil on canvas 🎨🖌
Painting 'Emergence', oil on canvas
Time lapse painting
Painting 'Emergence', oil on canvas 🎨🖌
Painting the first layer of 'Emergence' (part 2 of 4), oil on canvas 🎨 🖌
Painting 'Emergence', oil on canvas
Painting the second layer of 'Metanoia VIII'
Painting the second layer of 'Metanoia VIII'
Painting the first layer of Metanoia VII (part 1 of 4)
Painting the second layer of 'Metanoia VIII'
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Artist Bio
Born in 1982, Knutsford, England.
2002-2005 BA(Hons) Fine Art, Manchester School of Art, UK.
Based in Manchester, UK.
Solo exhibitions
2018 Metanoia, Waterside, Manchester, UK
2015 Neuroaesthetic, SHTAB, Kazan, Russia
2015 Valley of the Shadow, Bankley Gallery, Manchester, UK
2014 The Inscending Spiral, Mirus Gallery, San Francisco, CA
2011 All and Nothing, Joshua Liner Gallery, New York, NY
2010 Paroxysm, ROJOartspace, Barcelona, Spain
2009 Hypermass, ROJOartspace, Milan, Italy
2008 Into the Fold, FORSTER, London, UK
Selected Group exhibitions
2017 Totem: Sacred Beings & Spirit Objects, Saatchi Gallery, London, UK 5 year Aniversary, Mirus Gallery, San Francisco, CA Echo Chamber, Bankley Gallery, Manchester, UK Colour & I are One, Saul Hay Gallery, Manchester, UK Legacy, Manchester School of Art, Manchester, UK
2015 Ignis Fatuss: Dreams and Illusions, Lights of Soho, London, UK Bankley Open Call, Bankley Gallery, Manchester, UK
2014 Suggestivism: Chronology, Copro Gallery, Santa Monica, CA
2012 Escape Velocity, Mirus Gallery, San Francisco, CA Tattoo the Girl, Mutuo - Centro de Arte, Barcelona, Spain Even Flow, Circuit 12 Contemporary, Dallas, TX Rarekind Manchester, 2022NQ, Manchester, UK 60 Drawings, Bankley Gallery, Manchester, UK Surface Pattern, Circuit 12 Contemporary, Dallas, TX Art on the Edge 2012, Vered Contemporary, East Hampton, NY
2011 I Want My Music Video Art Show, Meltdown Gallery, Los Angeles, CA Art on the Edge 2011, Vered Gallery, East Hampton, NY Prism 9, Gate 5, Sheffield, UK Suggestivism, Grand Central Art Center, Santa Ana, CA
2010 SugiPOP!, Portsmouth Museum of Art, Portsmouth, NH SUPERUNKNOWN, Edel Assanti, London, UK Chaosmos II, View Two Gallery, Liverpool, UK Summer Group Exhibition, Joshua Liner Gallery, New York, NY Art on the Edge: The New Contemporary, Vered Gallery, East Hampton, NY Caged Bird Sings, Crypt Gallery, London, UK Mirabilia, ROJOartspace, Milan, Italy
2009 Natural Wonders, LeBasse Projects, Los Angeles, CA Quinquennium Exhibitum, Nucleus, Los Angeles, CA Summer Group Exhibition, Joshua Liner Gallery, New York, NY Seasonal Change, LeBasse Projects, Los Angeles, CA OCHO número atómico, ROJOartspace, Barcelona, Spain OCHO delicate nature, ROJOartspace, Milan, Italy
2008 Group: Focus 1, FORSTER, London, UK
2007 Graf**k 3, Nucleus, Los Angeles, CA Happy Days, John Jones, London, UK Ten at One, FORSTER, London, UK Dorian Gray, Vegas Gallery, London, UK London art fair 2007: Art Projects, Business Design Centre, London, UK
2006 Two not ten, Bargate Monument Gallery, Southhampton, UK Exposures: National student film festival, Cornerhouse, Manchester, UK
2005 Northern Graduates 2005, Curwen Gallery, London, UK MMU@CUBE - 18 Modern Originals, CUBE gallery, Manchester, UK
Comments
Either the A.I. overlords don't like me posting images with text or I don't have that many tarot fans out there 💔 Either way here's my design for the Seven of Pentacles sans text. If you would like to dive deeper into the meaning behind this work you can now follow the mystical me over at 👉
⠀
∞
⠀⠀
⠀
∞
⠀⠀
Detail of my new subscribers only print 'Floating Worlds III'. I'll be releasing this piece on Monday in my monthly newsletter, sign up via the link in my bio.
⠀
🌊
⠀
⠀
🌊
⠀
The Chariot card highlights the different forces at play within us and the skill it takes to reign them in, so they can be put to good use.
⠀
If we fail to gather in our energy and focus it in a specific direction we can be easily left in limbo, spinning our wheels.
⠀
• Control
• Direction
• Drive
⠀⠀
🃏
⠀
⠀
If we fail to gather in our energy and focus it in a specific direction we can be easily left in limbo, spinning our wheels.
⠀
• Control
• Direction
• Drive
⠀⠀
🃏
⠀
Experimentation has been key to keeping things alive within my art. I could never paint the same imagery over and over like some artists do. Not that there's anything wrong with that, I just always prefered to push out into unknown waters and stretch myself, and that means making work that might not fit in with my 'brand' or feel imperfect in some way.
⠀
Moving away from trying to make everything perfect, both in my art and my life, has been something I've had to work on in order to stay somewhat sane. These digital experiments I posted a few years ago were a conscious step towards not being so pedantic about every aspect of my work and what I choose to show you.
⠀
P.s. If you actually read these posts I want to say a big thank you 🧡🙏 The algorithm on here these days is terrible and I don't feel like making endless reels of me dancing to Ariana Grande songs to appease the A.I. overlords.
⠀
∞
⠀
⠀
Moving away from trying to make everything perfect, both in my art and my life, has been something I've had to work on in order to stay somewhat sane. These digital experiments I posted a few years ago were a conscious step towards not being so pedantic about every aspect of my work and what I choose to show you.
⠀
P.s. If you actually read these posts I want to say a big thank you 🧡🙏 The algorithm on here these days is terrible and I don't feel like making endless reels of me dancing to Ariana Grande songs to appease the A.I. overlords.
⠀
∞
⠀
Detail of 'Nascita de Venere (Emergence II)', oil on canvas 🎨🖌
⠀
⠀
∞
⠀
⠀
⠀
∞
⠀
Detail of 'Nascita de Venere (Emergence II)', oil on canvas 🎨🖌
⠀
⠀
∞
⠀
⠀
⠀
∞
⠀
I've been asked by many musicians to design album covers over the years, rarely do I say yes. But as an 80's kid and a huge fan of Jungian psychology, when the band Yatte () described their music to me as "yacht rock for shadow workers", I was all in 🎸🎶
⠀
They chose two pieces from my Imaginal Cells series. The visual feel of the whole series was definitely influenced by the 80's aesthetics of my childhood, so it felt to me more than fitting that they also released the two albums on cassette tape as well.
⠀
The floating formations of my recent work can be traced back partly to my youthful fascination with the album cover of Mike Oldfiled's Tubular Bells, created by Trevor Key. It was a cassette tape my parents owned when I was a child and would often listen to on car journeys (alongside my fav Jean Michel Jarre 💙). Full circle indeed 💫
⠀
You may also recognise that similar 'floating form above a landscape' composition from Trevor Keys artwork in two older works by the Surrealists René Magritte (The Castle of the Pyrenees) and Salvador Dalí (Meditative Rose), which have also been major influences on my recent work.
⠀
⠀
∞
⠀
⠀
They chose two pieces from my Imaginal Cells series. The visual feel of the whole series was definitely influenced by the 80's aesthetics of my childhood, so it felt to me more than fitting that they also released the two albums on cassette tape as well.
⠀
The floating formations of my recent work can be traced back partly to my youthful fascination with the album cover of Mike Oldfiled's Tubular Bells, created by Trevor Key. It was a cassette tape my parents owned when I was a child and would often listen to on car journeys (alongside my fav Jean Michel Jarre 💙). Full circle indeed 💫
⠀
You may also recognise that similar 'floating form above a landscape' composition from Trevor Keys artwork in two older works by the Surrealists René Magritte (The Castle of the Pyrenees) and Salvador Dalí (Meditative Rose), which have also been major influences on my recent work.
⠀
⠀
∞
⠀
'Floating Worlds II' is only available to subscribers to my monthly newsletter. Sign up via the link in my bio and you'll get a link to a private print collection, plus 10% off your first order over £50.
⠀
Final print order dates for Christmas delivery:
⠀
Cyprus, Malta and Sweden
Dec 7th
⠀
Canada, Czech Republic, Finland,
Poland, USA, Eastern Europe (except
Czech Republic, Poland and
Slovakia) and Turkey
Dec 8th
⠀
Austria, Belgium, Denmark, France,
Germany, Iceland, Ireland, Luxembourg,
Netherlands, Norway, Slovakia, Spain,
Switzerland
Dec 13th
⠀
United Kingdom
Dec 16th
⠀
Australia, Greece, Italy,
New Zealand and Portugal
Africa, Central and South America,
Asia, Far and Middle East
Date now passed 😔
⠀
🌸
⠀
⠀
Final print order dates for Christmas delivery:
⠀
Cyprus, Malta and Sweden
Dec 7th
⠀
Canada, Czech Republic, Finland,
Poland, USA, Eastern Europe (except
Czech Republic, Poland and
Slovakia) and Turkey
Dec 8th
⠀
Austria, Belgium, Denmark, France,
Germany, Iceland, Ireland, Luxembourg,
Netherlands, Norway, Slovakia, Spain,
Switzerland
Dec 13th
⠀
United Kingdom
Dec 16th
⠀
Australia, Greece, Italy,
New Zealand and Portugal
Africa, Central and South America,
Asia, Far and Middle East
Date now passed 😔
⠀
🌸
⠀
This card represents the overflowing of emotion and channeling of the deep unconscious. The Ace card always represents the start of the journey within each suite. This fresh new blooming of emotions is similar to that of a new born child, that there can be great beauty in it's pure unrestrained expression, but equally a lot of unnecessary waterworks and turmoil.
⠀
Intuition • Emotion • Creativity
⠀
🃏
⠀
⠀
Intuition • Emotion • Creativity
⠀
🃏
⠀
Japanese culture has always been a major influence on my artistic practice, as well as my personal life. From the dynamic and colourful imagery of Japanese animation that inspired my early painting and digital work, to my origami sculptures, as well as my deep interest in Zen meditation which I've been practicing for over 12 years.
⠀
I've always been fascinated by pre-modern Japanese culture specifically because it seems to exemplify how our normal day-to-day existence can be transformed into artful expression.
⠀
This everyday beauty is very much a focal point of the Ukiyo-e genre of Japanese art that was developed in the 17th century and flourished until Japan finally opened it's borders to the industrialised world. This time was known as the Edo period (1603 - 1867).
⠀
Ukiyo-e translates as "pictures of the floating world". 'Floating world' was a Buddhist term referring to the fleeting nature of existence.
⠀
The term was also used ironically to describe the hedonistic lifestyle of the wealthy merchant class who indulged in the entertainment of kabuki theatre, sumo wrestling, geisha, and courtesans of the yūkaku (red-light district), images of which were often depicted in woodblock prints.
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Flowing fabrics, natural forms and luxurious textures have always formed the basis of all my digital and painted compositions. These elements can all be found throughout the ukiyo-e genre.
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Following on from my 'Prima Materia' print collection which took similar elements from pre-20th century European paintings, the 'Floating Worlds' series now deconstructs and reimagines the pleasures and richness of Edo period Japan.
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Prints in this series are only available for subscribers to my monthly newsletter. Sign up here: http://bit.ly/jamesropersub and you'll get a link to access this private collection + 10% off your first order over £50
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I've always been fascinated by pre-modern Japanese culture specifically because it seems to exemplify how our normal day-to-day existence can be transformed into artful expression.
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This everyday beauty is very much a focal point of the Ukiyo-e genre of Japanese art that was developed in the 17th century and flourished until Japan finally opened it's borders to the industrialised world. This time was known as the Edo period (1603 - 1867).
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Ukiyo-e translates as "pictures of the floating world". 'Floating world' was a Buddhist term referring to the fleeting nature of existence.
⠀
The term was also used ironically to describe the hedonistic lifestyle of the wealthy merchant class who indulged in the entertainment of kabuki theatre, sumo wrestling, geisha, and courtesans of the yūkaku (red-light district), images of which were often depicted in woodblock prints.
⠀
Flowing fabrics, natural forms and luxurious textures have always formed the basis of all my digital and painted compositions. These elements can all be found throughout the ukiyo-e genre.
⠀
Following on from my 'Prima Materia' print collection which took similar elements from pre-20th century European paintings, the 'Floating Worlds' series now deconstructs and reimagines the pleasures and richness of Edo period Japan.
⠀
Prints in this series are only available for subscribers to my monthly newsletter. Sign up here: http://bit.ly/jamesropersub and you'll get a link to access this private collection + 10% off your first order over £50
⠀
🌊
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Signed limited edition prints of 'Prima Materia IX' are now available: https://jamesroperart.store/collections/prima-materia-1
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This will be the last piece in this series for a short while, as I'd like to put more focus on my Imaginal Tarot series. I still have 62 cards to complete!
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I also have a brand new painting and digital series I need time to develop before I unleash it to the world next year.
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'Prima Materia IX' is available in three sizes, A4, A3 and 72cm x 56cm which comes embossed with my unique artists stamp.
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🎁🎅 Final print order dates for Christmas delivery:
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Australia, Greece, Italy,
New Zealand and Portugal
Dec 1st
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Africa, Central and South America,
Asia, Far and Middle East
Dec 5th
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Cyprus, Malta and Sweden
Dec 7th
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Canada, Czech Republic, Finland,
Poland, USA, Eastern Europe (except
Czech Republic, Poland and
Slovakia) and Turkey
Dec 8th
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Austria, Belgium, Denmark, France,
Germany, Iceland, Ireland, Luxembourg,
Netherlands, Norway, Slovakia, Spain,
Switzerland
Dec 13th
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United Kingdom
Dec 16th
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∞
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This will be the last piece in this series for a short while, as I'd like to put more focus on my Imaginal Tarot series. I still have 62 cards to complete!
⠀
I also have a brand new painting and digital series I need time to develop before I unleash it to the world next year.
⠀
'Prima Materia IX' is available in three sizes, A4, A3 and 72cm x 56cm which comes embossed with my unique artists stamp.
⠀
🎁🎅 Final print order dates for Christmas delivery:
⠀
Australia, Greece, Italy,
New Zealand and Portugal
Dec 1st
⠀
Africa, Central and South America,
Asia, Far and Middle East
Dec 5th
⠀
Cyprus, Malta and Sweden
Dec 7th
⠀
Canada, Czech Republic, Finland,
Poland, USA, Eastern Europe (except
Czech Republic, Poland and
Slovakia) and Turkey
Dec 8th
⠀
Austria, Belgium, Denmark, France,
Germany, Iceland, Ireland, Luxembourg,
Netherlands, Norway, Slovakia, Spain,
Switzerland
Dec 13th
⠀
United Kingdom
Dec 16th
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∞
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Before we embark on a journey first we must decide where it is we are going. The Two of Wands represents this greater perspective on the road ahead, depicted here by the globe and distant horizon below. The winding branches symbolise the paths we might take, for good or bad, and the lightning the initial spark of inspiration that helps us take our first few steps into the unknown.
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• Planning
• Decisions
• Discovery
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🃏
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• Planning
• Decisions
• Discovery
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🃏
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#}