A Girl's Best Friend by Ryder
‘A Girl’s Best Friend’ is a Limited Edition of 95, Giclée on Canvas. Available as mounted canvas at £495 or framed at £595.
Playtime in this magical garden with the best friend anyone could ever have. What a lovely place to call home.
Intriguingly we are given no back-story to Ryder, the epitomist of enchantment, but this gives us the freedom to form our own opinions on the work without the heavy weight of preconception. As we wander through this magical world, shrouded in mystery, it is the art which becomes the narrator, rather than the creator of the work.
Intriguingly we are given no back-story to Ryder, the epitomist of enchantment, but this gives us the freedom to form our own opinions on this artist’s work without the heavy weight of preconception. As we wander through this magical world, shrouded in mystery, it is the art which becomes the narrator, rather than the creator of the work.
‘Artist’: an all-encompassing term that wraps many a discipline up in a cultural blanket of human expression and progress. Occasionally, an individual emerges that blurs the lines between these disciplines, breathing narrative into visual art and illustration into the twists and turns of fictional writing. Ryder is one such artist.
In 2002, the world famous Pompidou Centre in Paris devoted a headline exhibition not to an artist but a to literary critic, and that critic was Roland Barthes. For the purposes of penetrating the veneer of mystique around Ryder, we must take as our reference text Barthes’ critical essay entitled ‘Death of the Author’. In it, Barthes surmises that one must disengage with the author to appreciate text in its truest form. In essence, he asserts that we as an audience have subjectivity imposed upon us – that our knowledge of an author, painter or poet ultimately colours our opinion of, and attitude towards, the piece itself. He urges us to look beyond the constraints of the simple answer, the easy route, and to judge each creation on its own merit.
The more thought one gives to this notion, the more weight Barthes’ argument carries; what a tragedy if one were unable simply to appreciate the beauty of a Van Gogh without searching for signs of madness within its composition. ‘Death of The Author’ promotes empowerment and gives us back control; no dictatorial biography, instead a metaphorical blank canvas for us, the audience, to take charge and form our own opinions. Thus we come to this collection. Ryder is no more, no less than a name on a piece of paper. No artist biography to influence your impressions, no collection overview to police your critique, just the art laid bare.
CLK Art is delighted to represent Ryder…. whoever Ryder may be.
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