Sunset at the Dead Sea (2022)
Description:
Do you think that Japan is the country of the rising sun? I'm afraid to utter these words, but it is not so. The sun takes its rest behind Massada near the Dead Sea. Only there does it feel safe. When it settles within a crevice at the mountain's base, the surrounding landscape is filled with wine-red colors until it is utterly inebriated with crimson. How can I forget these breaths of a slumbering luminary? Or maybe it’s here for a different purpose?Available — this original is currently for sale.
If you wish to purchase a work of art, please contact us or call +1 (416) 919-8331.
About this piece
Sunset at the Dead Sea (2022) is an original, one-of-a-kind work by Sergei Troshin, born 1960, based in Canada. It is made with natural dye, acrylic, resin on wood and measures 4ft x 4ft. It was completed in 2021. There is only one — nothing here is a print or a reproduction.
Materials and finish
The work is built on wooden board. A wooden board is rigid, which is what lets a thick, poured surface stay flat over time.
Natural dyes — Natural dyes sink into the support instead of sitting on top of it, which is why the colour looks like it belongs to the wood rather than being painted onto it.
Resin — A poured resin coat cures to a hard, glass-like film. It deepens the colour underneath the way water darkens a stone, seals the surface, and gives the work a reflective face that behaves like glazing without the glass. Tate’s glossary entry on resin explains the term in more detail.
Acrylic — Acrylic dries quickly and stays flexible, which lets layers be laid over one another in a single session and scraped back while still workable. Tate’s glossary entry on acrylic paint explains the term in more detail.
Looking after it
The resin face is hard but it scratches like any gloss surface. Dust it with a dry, soft cloth — no solvents, no household cleaners, nothing abrasive.
Keep it out of long hours of direct sun. Prolonged UV is what ages a clear coat, and a wall that gets full afternoon light is the one place to avoid.
Dyed passages are light-sensitive in the way any dye is; steady indirect light keeps them true for far longer than a sunlit wall.
Room conditions matter more than anything else: stable temperature, stable humidity, no direct sun. The American Institute for Conservation publishes plain-language guidance on caring for artwork at home.
From the same year
2021 is represented in the catalogue by 2 works. Alongside this one: Fluently Python (2022).
Further reading
We write about how these surfaces are made and how to live with them in Notes on Art. Relevant to this piece:
- What a Resin Finish Really Does — Two Sans Souci originals, one poured resin finish, and why the same coat reads differently depending on scale, support, and where a piece hangs.
- How to hang a heavy painting — Weight decides the hardware, not size. What a rigid resin-faced panel needs that a small canvas does not, which fixing suits your wall, and what to ask us.
Buying, viewing and delivery
Every artwork leaves the studio with a Certificate of Authenticity, signed and sealed by the artist. Prices are shared on request — there is no online checkout, because each piece is one of a kind and we would rather answer your questions first. Pieces can be viewed in person in Markham by appointment, and we are happy to talk through materials, framing or how a work will sit in your space. Shipping is quoted per piece and packed individually so the work travels safely. Ask about this piece.
