Hand Prints and Multiples

It is a limited series of 5 copies. Printing on 315gr fine art paper with a white border of around 2 cm. Color photography mixed media digital collage.

Two-dimensional interpretation of Jim Rennert's A Deal's A Deal. Work is a UV print on ultra-clear polyester faced with acrylic with white backing on an aluminium back. Edition of 10.

Untitled (Hands) [Collaboration with Izhar Patkin] 2005 Signed and numbered in pencil, recto Lithograph (Edition of 100) 17.5 x 11.75 inches, image 24.25 x 20 inches, framed Plea...

Black and White Print, Surf Photography, Modern Art-Euphoria Waves ABOUT THIS PIECE: This modern art piece named "Euphoria Waves" was shot on Wil...

Surf Prints Photography surfing Photography ABOUT THIS PIECE: This piece of photography for sale named "Drifting Days" was shot on Wilmington Beach in Nor...

Photography For Sale, Black and White Prints, Surfer Photography-Riding Tide ABOUT THIS PIECE: This piece of photography for sale named "Riding Ti...

Fine Art Photography, Black and White Photography, Portrait Art-Faith ABOUT THIS PIECE: This piece of fine art photography for sale named "Faith" was part of a portrait series shot...

Portrait Art, Black and White Photography, Portrait Photography-Echoing Heart A B O U T T H I S P I E C E : This piece of photography art named "Echoing Heart" was part of a portra...

Screenprint in 36 colours on 100% rag 4-ply Museum Board

African American Portrait, Portrait Photography, Portrait Prints-Seers Realm ABOUT THIS PIECE: "Seers Realm (Bethyie - 715)" African Americ...

Nude Photography, Black and White Photography, Nude Prints-In The Nude 911 ABOUT THIS PIECE: Nude Photography, "In the Nude 911", is a black and white portrait that was shot during...

As one of the iconic images from The Last Sitting, commissioned by Vogue Magazine, Marilyn in Bed I was created in 2009 from the negative Bert Stern shot in 1962.  It is a digital pi...

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 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 "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...