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Handmålad olja på duk i din valda storlek och ram, tillverkad efter beställning av våra konstnärer. (
Köp tryck Köp bild)
Välj bland våra förinställda storlekar som motsvarar konstverkets ursprungliga proportioner.
Du kan ange egna mått för att passa en specifik ram eller yta. Om den valda storleken inte matchar originalbildens proportioner kommer vi antingen att beskära konstverket eller utöka målningen med ytterligare handmålade element. En digital skiss skickas till dig för godkännande innan produktionen påbörjas.
Observera att förhandsvisningen på skärmen inte återspeglar den faktiska beskärningen eller utökningen. Endast skissen visar den slutgiltiga kompositionen korrekt.
Även om anpassade storlekar är möjliga, rekommenderar vi att du väljer en dimension från den fördefinierade listan för att bevara originalproportionerna.
Leverans över hela världen () på 3–4 veckor istället för standard 5 veckor. (13 augusti). Inga kompromisser med kvaliteten.
Enagua
Reproduktionsstorlek
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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Glasalternativet är endast tillgängligt i storlekar under 110 cm.
