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Gonzalo FuenmayorThe Unexpected Guest2017
2017
About the Item
Edition of 150
MEDIUM
Giclee Print on Hot Press Bright paper
DIMENSIONS
Unframed: 25 x 40 inches
Framed: 28 ½ x 43 ¾ inches
DESCRIPTION
The image represents a persistent theme within the artist's oeuvre: colonization of native lands in South America. In this image, the tropical landscape is taking back control. Seen here with a palm tree bursting through a window in Buckingham Palace.
This giclée print is a limited edition of 150, based on a large-scale charcoal on paper that has since sold. Fuenmayor realized this was one of his most successful compositions, so he decided to make a series of prints based on it. He wanted the smaller prints to mimic the quality of the original charcoal, so he exposed fringes of the paper to give the work a feel of being drawn and made the reproduction extraordinarily high resolution.
- Creator:
- Creation Year:2017
- Dimensions:Height: 28.5 in (72.39 cm)Width: 43.75 in (111.13 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU914203372
Gonzalo Fuenmayor
Gonzalo Fuenmayor's work reflects a double cultural influence that has inexorably marked his artistic practice: Hispanic and North American. His childhood and youth were spent in one of the cities that best embodies the essence of the Caribbean city (Barranquilla) and his professional activity has been developed in the United States, where he currently lives and works. His artistic research questions the Caribbean identity as a brand and the stereotypes that this concept has generated through images that have become local symbols such as the toucan, the pineapple, the palm tree, and, especially, the banana. The latter has symbolized like no other fruit the paradox of abundance and poverty, being at the same time food for the population and the cause of the exploitation of the peasantry in the plantations in what has been called the "banana drama". The artist seeks to combine in his works a narrative line where the decorative and the tragic come together in a discourse that borrows resources from literature, cinema, and advertising. His discourse is thus formed from irony and parody; the artist fuses seemingly unrelated objects and creates images that he himself defines as "visual grafts" where the contrast between form and its signifier takes on a new reading that provokes the viewer's reflection.
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