Richard Heeps

Poor Richard Heads, American Cowboy, Muffler Men - Pop Art Color Photography

2002

Ladies and Men, two photographs by Richard Heeps from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and...

Pink Champagne Motel, Wildwood, New Jersey, 2013 Sundowner Sign, Salton Sea, California, 2003 Roy's Motel Sign, Route 66, Amboy, California, 2001 Swim-in-Pool Supply Co. Las Vegas, N...

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. This set of six framed ready to hang artworks feature: Lone Pine, California, 2000 Honeymoon Hideaway, Palm Springs, California, 2002 Space Age Lodge, Gila Bend, Arizona, 2001 Anita, Lade Fen, Welney, 1993 Dot's Diner, Bisbee, Arizona, 2001 Sun Kissed Wendy, Las Vegas, 2001 Each individual framed artwork measures 23.5" x 27.5". They can be hung together as a set or spaced out throughout your interior. Each artwork is a limited edition of 25 gloss photographic print, dry-mounted to aluminium, presented in a museum board white window mount and a choice of black or white box frame fitted with anti-reflective UV70% glass, signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order. They make take more than 10 days to frame. They are available in other sizes and can be purchased individually and in other combinations. “Richard Heeps' seductive, highly-saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for this subject matter – be it cool, descriptive interiors, still life or landscape.” His distinctive style pushes the limits of photography. The collectable and affordable, hand-printed colour photographs combine the best in traditional processing with the latest archival products – from photographic paper to mounting with a 100% cotton museum board. His artwork has been bought by many international collectors. Exhibitions Include: Royal Academy of Arts London, Photoville Brooklyn, The Photographers Gallery London, The Spitz Gallery London, Kettle's Yard Cambridge, Norwich Arts Centre. The Civic Centre Thurrock, 20-21 Visual Arts Centre Scunthorpe, Rochester Art Gallery, Preston Hall...

Richard Heeps Dream in Color Swimming Pool Artworks. A set of three individual artworks, vibrant yet serene they take you to the swimming pool on a hot day. Featuring, 'Beach Ball, P...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

Dye sublimation print on aluminum, polished chrome float frame (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series "Particle Paradise" This artwork is offered...

A lenticular print by Austin, TX based artist B Shawn Cox. This work was part of the "Paperback Rodeo" show at Davis Gallery & Framing. B SHAWN COX All C...