|Email David Lewis-Baker via this link: http://www.yessy.com/DavidBaker/contact.html
I have been painting and drawing privately most of my life and after a period of ill health I retired as an academic from Warwick University in 2006, aged 56, to become a new media fine artist and fine art photographer in Bath, a decision I consider to have been the most important of my life.
I undertake architectural and documentary photography for Bath Abbey. I have published academic books and articles and also poems, and I continue to write academic texts and to give invited lectures to schools, colleges and universities in my discipline. I am currently writing an introduction to Political Economy for Routledge and will be a visiting professor at the University of Cincinnati Taft Research Centre in the spring term of 2011.
I switched to digital arts in 1999 in order to combine my art with a busy life as a professor of Political Science at the University of Warwick. But since then I come to love the freedom and possibilities the medium allows me. I also combine the two mediums in some of the work by scanning in my watercolours, Sennellier pastels and drawings and working on them digitally, often creating radically different results from these traditional medium under-paintings.
I am, therefore, a painterly digital artist and my work ranges widely from portraits and landscape pieces, to abstract, surrealist and conceptual works. My limited edition fine art archive prints are in private collections across the globe, and my works have been used in a wide range of printed publications (books, articles, brochures, theatre programmes, posters etc) and also in an art-house movie in the US. I have written and published a number of academic books, articles and poems and continue to publish academic texts and to give invited lectures to schools, colleges and universities in my discipline.
My work, although ranging widely in styles and subjects, is tied together by various themes and interests, including: the boundary between abstraction and representation, the impact of symmetry and colour, the architecture of the built and the natural environments, the human form (including portraits), psychology (often expressed through surrealism) and memories of human conflict and suffering. The key styles I employ in my work (photo and painterly realism aside) are abstraction, surrealism, cubism, and conceptualism.
My abstracts are influenced by textiles (especially the Bauhaus Women's Textiles group) and glass-art and the artists that have most influenced my abstract works include Feininger, Matisse, Klee, Kandinsky, Rothko, Miro, Picasso, Vasarely, and Karel Appel.
Limited edition fine art archive quality Giclée prints of my works are available from this site in three rectangular sizes (postage is extra and depends on the destination).
30 x 46 cm 12 x 18" @ $110 (£70)
50 x 70 cm 19.7 x 27.5" @ $195 (£120)
70 x100 cm 27.5 x 39.4 " @ $385 (£240)
And in the case of square works (at the equivalent prices):
15 x 15 inches @ $110 (£70)
20 x 20 inches @ $195 (£120)
30 x 30 inches @ $385 (£240)
Prices for bespoke sizes can be obtained by enquiry.
These Giclées are expertly printed by Dunstan Baker of the Fine Art Print Company in Bath. See his site at: http://fapc.co.uk/ (Explanation of the term 'Giclée' below)
The Giclées are shipped outside the UK via express tracked air postage. Postage costs stay the same for multiple orders, since all the works are delivered in a single tube. After an initial order is placed, full p&p costs are given before the order is approved by the buyer.
The 'Special Order Gallery' is for works from my other sites requested for sale and placed here for that purpose. After each piece has been sold they are removed from the gallery.
All orders for my art MUST go through the Yessy ordering system to protect everyone from fraud.
Delivery Times: Within the UK and EU, 1-2 days, INTERNATIONAL tracked air deliveries usually take a maximum of 5/6 days to arrive.
For a full explanation of my methods of working see my short essay 'On being a "new media" digital artist.' at: http://bathfineartandphotography.blogspot.com/2007/09/new-media-explained.html
CONTACT David Lewis-Baker
Any further questions/queries please contact me via this link: http://www.yessy.com/DavidBaker/contact.html
See the full range of my art and photography at: http://www.flickr.com/photos/david_lewis_baker_arts/
Please Note: All images on this site are the copyright ((c) All Rights Reserved) property of David Lewis-Baker and protected under UK and International copyright laws. No copying, saving to digital file, reproduction or manipulation is permitted unless with express written authority of David Lewis-Baker.
Bath May 2010
*Giclée (pronounced "zhee-clay") is a neologism for the process of making fine art prints from a digital source using ink-jet printing. The word "giclée" is derived from the French language word "le gicleur" meaning "nozzle", or more specifically "gicler" meaning "to squirt, spurt, or spray". It was coined in 1991 by Jack Duganne, a printmaker working in the field, to represent any inkjet-based digital print used as fine art. The intent of that name was to distinguish commonly known industrial "Iris proofs" from the type of fine art prints artists were producing on those same types of printers. The name was originally applied to fine art prints created on Iris printers in a process invented in the early 1990s but has since come to mean any high quality ink-jet print and is often used in galleries and print shops to denote such prints.
It is often argued that digital painting means that marks and gestures made by the hand are no longer ‘unique’ or 'original' since “they become both reproducible and, more problematic, constituted by a complex set of factors like the capabilities of hardware and the possibilities and limits of software which are, in turn, determined by other people; the auto graphic mark becomes a ‘team effort.’” In that sense the digital artist flies by wire, but then so does the fighter aircraft pilot and yet no one argues that they are not skilled pilots, or that the machine flies itself when they are in combat. But, equally, traditional medium artists have always been limited by the quality, condition, and manufacture of their brushes, paints, and surface preparations etc, and the end of mixing paints as part of the artist's skills were greeted as the end of 'real' painting when they arrived, as was Warhol's screen prints and Hockney's poloroid pictures. Nevertheless this criticism is accurate when leveled against many digital 'artists' who lack originality and/or succumb to “the ease with which images can be manipulated [which] often leads to volumes of gratuitous work in which images are subjected to a catalogue of processes, effects and filters.” But then the vast majority of traditional medium artworks are also formulaic and unoriginal.