Reflections
Completed in the early 1970s, Reflections originally hung in the boardroom of Mazda cars. It presents an extraordinary early example of the pioneering work Neiland made in his spray-gun process, first developed during student days at the Royal College of Art. Across the bonnet of a sports car, a blue sky with wisps of white cloud bends and refracts, distorting over the curved metal surface. Above, a sandy building melts into a Dali-esque desert; the surrounding sky becomes a Surrealist sea.
Neiland has spoken of his love of reflections, where grid lines and industrial exactness balance the warp of light across their planes in a ‘play between the structured and the free’. Here, brutalist concrete dissolves into dream-land oasis – an example of the strangeness to be found on even the most ordered of urban surfaces.
Neiland has spoken of his love of reflections, where grid lines and industrial exactness balance the warp of light across their planes in a ‘play between the structured and the free’. Here, brutalist concrete dissolves into dream-land oasis – an example of the strangeness to be found on even the most ordered of urban surfaces.
$17,292.19
Reflections—
$17,292.19
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Description
Completed in the early 1970s, Reflections originally hung in the boardroom of Mazda cars. It presents an extraordinary early example of the pioneering work Neiland made in his spray-gun process, first developed during student days at the Royal College of Art. Across the bonnet of a sports car, a blue sky with wisps of white cloud bends and refracts, distorting over the curved metal surface. Above, a sandy building melts into a Dali-esque desert; the surrounding sky becomes a Surrealist sea.
Neiland has spoken of his love of reflections, where grid lines and industrial exactness balance the warp of light across their planes in a ‘play between the structured and the free’. Here, brutalist concrete dissolves into dream-land oasis – an example of the strangeness to be found on even the most ordered of urban surfaces.
Neiland has spoken of his love of reflections, where grid lines and industrial exactness balance the warp of light across their planes in a ‘play between the structured and the free’. Here, brutalist concrete dissolves into dream-land oasis – an example of the strangeness to be found on even the most ordered of urban surfaces.
