Artwork description:

LIFEBLOOD #41
I found this piece within the silent collapse of a tree’s protective shell — a raw wound in the bark, carved open by time, exposure, and invisible life. The vertical grain feels almost like muscle, sinew pulled taut beneath a flayed surface.
The dark punctures scattered across its core suggest the slow, methodical work of burrowing insects: tiny architects of decay, witnesses to patience.

This image, for me, is about vulnerability in strength — how even the most stoic forms can be hollowed from within. Yet there’s beauty in that erosion, in the way the inner layers speak once the outer façade has given way. It’s a reminder that time reveals more than it erases.

Given its rich texture, dramatic lighting, and raw organic energy, Lifeblood #41 could work well in the following settings:
- Minimalist spaces: It adds organic depth to clean, white or neutral walls, becoming a natural focal point.
- Wabi-sabi-inspired environments: Celebrating imperfection and the passage of time, this piece fits perfectly within the philosophy of beauty through decay.
- Boutique hotels or creative studios: As a conversation piece, it brings soul and story to public or semi-public spaces.
- - -

LIFEBLOOD #41

✔️ Limited edition of 9;
✔️ Giclée fine art print on Innova Exhibition Matte Polycotton Canvas 380gsm (with margin of 5 cm);
✔️ Hand signed on the back;
✔️ Certificate of authenticity, signed and numbered;
✔️ Hahnemühle matt protective varnish for canvas inkjet prints applied.

***Please contact me for other mediums or sizes***

Materials used:

Giclée fine art print on Exhibition Matte Polycotton Canvas 380gsm

Tags:
#wall art #abstract art #impressionist art #conceptual art #canvas art #tree abstraction #tree abstract #organic abstract #abstract impressionist #trunk patterns 

Lifeblood #41 (2023) Photograph
by Karim Carella

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£734.39 Alert

  • Photograph on Canvas
  • From a limited edition of 9
  • Size: 90 x 130 x 0.2cm (unframed) / 80 x 120cm (actual image size)
  • Signed and numbered on the back
  • Style: Abstract
  • Subject: Flowers and plants
  • Hurry only 1 left in stock

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Artwork description
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LIFEBLOOD #41
I found this piece within the silent collapse of a tree’s protective shell — a raw wound in the bark, carved open by time, exposure, and invisible life. The vertical grain feels almost like muscle, sinew pulled taut beneath a flayed surface.
The dark punctures scattered across its core suggest the slow, methodical work of burrowing insects: tiny architects of decay, witnesses to patience.

This image, for me, is about vulnerability in strength — how even the most stoic forms can be hollowed from within. Yet there’s beauty in that erosion, in the way the inner layers speak once the outer façade has given way. It’s a reminder that time reveals more than it erases.

Given its rich texture, dramatic lighting, and raw organic energy, Lifeblood #41 could work well in the following settings:
- Minimalist spaces: It adds organic depth to clean, white or neutral walls, becoming a natural focal point.
- Wabi-sabi-inspired environments: Celebrating imperfection and the passage of time, this piece fits perfectly within the philosophy of beauty through decay.
- Boutique hotels or creative studios: As a conversation piece, it brings soul and story to public or semi-public spaces.
- - -

LIFEBLOOD #41

✔️ Limited edition of 9;
✔️ Giclée fine art print on Innova Exhibition Matte Polycotton Canvas 380gsm (with margin of 5 cm);
✔️ Hand signed on the back;
✔️ Certificate of authenticity, signed and numbered;
✔️ Hahnemühle matt protective varnish for canvas inkjet prints applied.

***Please contact me for other mediums or sizes***

Materials used:

Giclée fine art print on Exhibition Matte Polycotton Canvas 380gsm

Tags:
#wall art #abstract art #impressionist art #conceptual art #canvas art #tree abstraction #tree abstract #organic abstract #abstract impressionist #trunk patterns 
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Karim Carella

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Location Italy

About
***ARTFINDER AWARDS 2024 - ARTIST OF THE YEAR***Attracted since childhood by the beauty of nature and natural landscapes, I began to express myself artistically at the age of seven during... Read more

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