Oversized Figurative Prints

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The use of clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Coffee Break...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Hot Dog...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Football Players...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Moving Woman" has been conceived while Aptekar was working on a monumental piece of 23 x 45 x 17 feet titled "The Defeat of the City of Plutonium: A Holocaust Prevented". The strong image of a human female naked body depicted as being one of the building parts...

Versaweiss Knife Chill, 2016 Archival pigment print on archival mat paper 150 x 200 cm Unique Don’t Kill Bambi: The studio 54 phenomenon repositioned at times of crisis Wit...

Versaweiss Horse-tag, 2016 Archival pigment print on archival mat paper 100 x 120 cm Edition of 5 Don’t Kill Bambi: The studio 54 phenomenon repositioned at times of crisis ...

Alexis Fidetzis How to Brutally Construct an Absurd Sense of Pride digital print on paper 30 x 150 cm (7 pieces)

Luna Trelles Dorazon d Pollo 2, 2015 Archival pigment print Edition of 10 49 x 39 inches (124 x 80 cm)

Untitled (Angel's Wing), 2014 archival pigment print image size: 36 x 51 inches paper size: 40 x 55 inches Edition of 25