Julio Alan Lepez

Icon 10

2010

Julio Alan Lepez Continuidad de los sueños, 2013 Mixed Media on board 33.8 x 17.3 in (85.85h x 43.94w cm)

Julio Alan Lepez Contraseñas, 2017 Oil on canvas 20 x 24 in (50.8h x 60.96w cm)

Julio Alan Lepez Contraseñas, 2017 Oil on canvas 20 x 24 in (50.8h x 60.96w cm)

Gran Solucion, 2014 Mixed Media 47.20h x 47.20w in Julio Alan Lepez graduated from the National School of Arts Prilidiano Pueyrredón in 1997. He has been the subject of solo and group exhibitions internationally, including at Museo Municipal de Arte in La Plata, Argentina, Centro Cultural de España in Mexico City, Centro Cultural Recoletta in Buenos Aires, Artemisa Gallery...

"UNTITLED" OIL AND ACRILIC ON CANVAS SIGNED 35.5 X 27.5 INCHES Sofía Ruiz was born in 1982. What she expresses through her paintings has to do with whe...

CIUPASC 2024 OIL CANVAS 152X188X1 :: Painting :: Post Modern :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes...

Don't Be Fooled By The Pure Persona (She Breathes Fire) "The paintings are built up in layer upon layer of paint which give the pieces great depth of field. They are created with an...

“Good artists borrow. Great artists steal.” A quote oft attributed to various sources that was never actually uttered by any of them. Though Mark Twain elaborated on the sentiment: “Ninety-nine parts of all things that proceed from the intellect are plagiarisms.” In the Framed Series, I use my 1% contribution to combine issues of consumption with my autobiography. I paint copies of copies of paintings within paintings to reference the appropriation, commodification, and altered continuum of art. My paintings of paintings are based on photographs of originals to perpetuate the continual distillation of form, given the ease with which images are presently exchanged and modified. Further, by reducing historically significant paintings to framed objects hanging on walls, I augment art as a commodity and reconcile the conflict between the artificially assigned monetary value of artworks with the reality that they are simply swirls of paint. In this way, I am also acknowledging the literality of my own work. I have also altered each copied painting to personalize the context of the pieces and address specific autobiographical ideas. These ideas relate to a range of both recent and distant experiences, both funny and sad. Although my initial renderings are digital image composites, my medium of choice is oil paint, applied in transparent layers, using the image on the computer screen as a reference. In addition to its lush visual properties, I enjoy the flexibility of oil paint in making acute renderings as well as the evolution of the imagery from paint to digital and back to paint in further protracting both the distillation and evolution of form. statement on piece "The character Jame Gumb, from the 1991 film and 1988 book, The Silence of the Lambs...