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Met de hand geschilderd in olieverf op canvas in uw gewenste maat en lijst, op bestelling gemaakt door onze kunstenaars. (
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Kies uit onze vooraf ingestelde maten die overeenkomen met de originele verhoudingen van het kunstwerk.
U kunt uw eigen afmetingen invoeren om in een specifieke lijst of ruimte te passen. Als de door u gekozen maat niet overeenkomt met de verhoudingen van het originele beeld, zullen we het kunstwerk bijsnijden of het schilderij uitbreiden met extra handgeschilderde elementen. Een digitale mockup wordt ter goedkeuring naar u verzonden voordat de productie begint.
Houd er rekening mee dat de preview op het scherm niet de werkelijke uitsnede of uitbreiding weergeeft. Alleen de mockup toont de uiteindelijke compositie nauwkeurig.
Hoewel aangepaste afmetingen mogelijk zijn, raden we aan een maat uit de vooraf gedefinieerde lijst te selecteren om de originele verhoudingen te behouden.
Wereldwijde levering () binnen 3 tot 4 weken in plaats van de standaard 5 weken. (13 augustus). Zonder concessies aan de kwaliteit.
Enagua
Formaat reproductie
Ned Kahn is an environmental artist and sculptor, known in particular for museum exhibits, one of which is the Exploratorium in San Francisco. His work usually intends to make an invisible aspect of nature visible.
Born in New York City in 1959 or 1960 (age 65–66), Ned Kahn’s artistic journey began early, fueled by a fascination with the natural world and a desire to explore its complexities. At the age of 10, he staged his first exhibition of sculptures fashioned from salvaged junkyard items—a formative experience where his mother took him to a local scrap yard—demonstrating an innate talent for repurposing materials and transforming them into evocative forms.
He pursued his passion for botany and environmental science at the University of Connecticut, graduating in 1982. This academic grounding provided him with foundational knowledge about ecological systems and informed his artistic approach. Notably, he was profoundly influenced by Frank Oppenheimer, the founder of the Exploratorium, whom he befriended during his apprenticeship years.
"Finally, I had someone I could ask all the questions that had been puzzling me for years," Kahn recalls with amusement. "Like, ‘What’s actually flowing through a wire when you turn on the light?’ Frank loved questions like that.” Oppenheimer instilled in him a spirit of inquiry and encouraged experimentation—values that would become central to Kahn's artistic philosophy.
From 1982 to 1996, Kahn worked at the Exploratorium, designing groundbreaking exhibits that captivated audiences and cemented his reputation as an innovator. He collaborated closely with Oppenheimer on projects exploring fluid dynamics, optics, acoustics, and other physical phenomena—a partnership that fostered a shared vision of blending science and art.
Kahn’s artistic output is characterized by ambitious installations that harness natural forces to create mesmerizing visual experiences. His most celebrated works include *Tornado*, a towering whirlwind sculpture commissioned for the 2000 World's Fair in Hanover, Germany—a feat of engineering and design that captivated visitors with its dynamic airflow patterns; and *Wind Veil*, a monumental sculptural wall featuring rotating aluminum panels that respond to wind currents.
He received a MacArthur Fellowship in 2003, recognizing his exceptional creativity and commitment to artistic excellence. Furthermore, he was awarded the National Design Award for Landscape Architecture in 2005—a testament to his ability to translate scientific concepts into aesthetically compelling artworks that engage viewers on an emotional level.
"I spent a year trying to make that first tornado sculpture work," Kahn confesses with amusement. "Sometimes I’d be there late at night. I’d aim the fans and the fog machine, and get it all fine-tuned. The thing would be working perfectly! Then I’d come back the next morning, and it wouldn’t work at all.” He continues to explore the interplay between natural systems and human perception—driven by a belief that art can illuminate hidden dimensions of reality.
“It made me realize that what we *do* know of the world is based on our view through very small windows,” Kahn explains. “The whole idea of limits—the limits of what’s really knowable—has been woven through everything I’ve done.”
1960 - , United States of America
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De optie voor glas is alleen beschikbaar bij een formaat kleiner dan 110 cm.
