[vc_row][vc_column][vc_single_image image=”3906″ img_size=”full”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50px”][vc_column_text]20:50, by Richard Wilson, 1987
Used sump oil, steel

Wilson’s work is characterised by architectural concerns with volume, illusionary spaces and auditory perception.

photos: nathalie hambro[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50px”][vc_column_text]Wilson’s oil piece has been re-installed at the Saatchi in Chelsea. This is its third re-incarnation, initially at Saatchi ‘s first space on Boundary Road,  (a disused paint factory in St John’s Wood), then by the Thames in the old GLC headquarter building. Each time the work has been adapted to the architecture of the space. It is now again on view at Saatchi’s Chelsea Barracks’ Gallery on the King’s Road.[/vc_column_text][vc_empty_space height=”50px”][vc_single_image image=”3907″ img_size=”full”][vc_empty_space height=”50px”][vc_column_text]Visitors examine the piece close-up from a mezzanine overlooking the oil lake, through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic. 20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible.[/vc_column_text][vc_empty_space height=”50px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css_animation=”none” el_class=”with-link”]    back to ART DIARY[/vc_column_text][/vc_column][/vc_row]