Not currently available for saleThis piece is currently reserved (either by a client or for an exhibition...).Get notified when it becomes available again.
Thank you very much for your interest!
Your message has been sent successfully! We will get back to you if the artwork becomes available again.
Singulart guarantees reliability and traceability.
All the artists on the platform have been specially selected and certify to only sell works, of which they are the artist. Whatever the medium, the work is sent to the buyer with a certificate of authenticity. Photographs are numbered and signed.
Every customer can be given a copy of their certificate of authenticity by contacting support@singulart.com
With Singulart, you can pay safely by credit card or bank transfer.
For all transactions exceeding your credit limit, contact us. We are required to verify every transfer, as part of the fight against fraud and money laundering.
Singulart prices include:
Price of an artwork defined by an artist.
Insurance. Your order is 100% protected in case of any damage or loss.
All customs fees, taxes, and document preparation.
Third-party logistic provider shipping costs.
A dedicated Singulart customer care specialist that will assist you with any questions or problems during shipment.
Other details :
Artwork on wood. Framing on request.
Dimensions :
18.9x13in
About this artwork
The full title of the work is: 'Semi-nude young woman in Phrygian mode clambering over cadavers in pursuit of a principle'. This is the third work in the revisionist ‘Ballon d'essai Series’ – Nos 1 and 2 are after works by Élisabeth Vigée le Brun – and No.3 examines a detail of Delacroix’ 'La Liberté guidant le peuple'. The original work – cinematic in scope : 260 x 325 cm – celebrates the July Revolution of 1830. And has interpretations, Marxist… and Feminist, that emphasize gender and class. However, if we detach it from its place as a symbolic work of agitprop and view it in a literal way, it begins to look like a theatrical work of the absurd. The term, ‘Phrygian mode’ in the title is a play on words since it may also refer to three musical modes.
Wilf Tilley's varied background spans acting, neuroscience and various art forms. He employs classical painting techniques with digital modelling, creating a unique blend. His work continuously evolves, incorporating digital advancements, yet upholding traditional hand-eye training. He dives into human and artificial memory, nostalgia, and fabulation, conveying the merging of human experience and emotion with scientific reasoning.