Irvin Pascal
Hung High
2018
“Pascollar” (mixed media and artists hair), rope, string vest, steel
92 x 35 x 30 cm
36.25 x 13.75 x 11.75 in
unique
available
EUR 6.000 (+ VAT if applicable)
Pascal’s paintings are made from of different organic materials and paint, a combination that generates texture variations and lends the works a collage appearance. Pascal’s figurative canvases deal with his African-Caribbean family roots and his personal path, for instance, his past career as a boxer. The artist also references himself in his works by using a unique sculptural material, which he calls Pascollar, made of a mixture with his own body hair. The artist was one of the Bloomberg New Contemporaries for 2017.
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Gina Beavers
Pop Art Lip Tutorial 1
2018
Fine Art Print on Photo Rag Ultrasmooth
80 x 60 cm
31.5 x 23.66 in
unique
unframed
available
EUR 500 (+ VAT if applicable)
Working before with references taken from the original pop movement of the 1950’s, Beavers evolved to paint the 'current pop', starting to search on social media posts for image templates to her extravagant canvases. Beavers' anthropological interest in society translates in paintings that explore the banality of internet: makeup tutorials, the so called food-porn pictures, body builder selfies, etc. In tune with the eccentricity of her artistic process, Gina Beavers maximizes the visual potential of her medium, taking tridimensionality to its higher possible level and bringing painting closer to sculpture. In 2019 Beavers had a solo exhibition at MoMA PS1.
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Brian Harte
New room
2017
oil on linen
210 x 165 cm
82.66 x 65 in
unique
available
USD 16.000 (+ VAT if applicable)
One of the main characteristics of Harte’s paintings is his bold use of color and the indeterminate condition of the canvases’ figures, which remain in a state between the sketch-like and the finished. Though this process is already perceptible in his earlier paintings, it notably became a grander concern for Harte in his latest works. The observer’s eye travels through the richly detailed and chaotic spaces depicted in Harte’s paintings and slowly and repeatedly finds familiar elements, unnoticeable at first glance. A tile pattern in the background might recall a kitchen backsplash, for instance, whilst elsewhere you might detect the outline of something like a teacup or a knife. This identification, that requires a certain amount of time and effort to happen, is not a solid one: quickly the observer finds himself again wondering through the painting, confronting these figurative elements with the flatness of Harte’s backgrounds.
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