Mr. Brainwash

Life is Beautiful - Hard Candy Blu

2020

Artist Statement: I fully believe a certain "luck factor" exists when working with glass; sometimes a piece turns out and others crack or break. Glass can be solid/liquid, can be...

Artist Statement: I fully believe a certain "luck factor" exists when working with glass; sometimes a piece turns out and others crack or break. Glass can be solid/liquid, can be...

Miss Bugs The Harley Street Cabinet, 2023 Multiple PU pigmented resin, polished stainless steel lolly stick and plinth in sliding door medical cabinet18 x 24 x 6 in (45.72 x 60.96 x ...

Miss Bugs was founded in the early part of 2007 in London, originally coming from a background in photography and graphics. Miss Bugs is a Bristol, UK based artistic duo known for their colorful and contemporary kaleidoscopic patterns of resin-encapsulated razorblades, drug paraphernalia, and pop culture icons which explore a common theme of society's obsession and consumption of social media and technology and how these innovations filter what we see. Working in partnership, they developed fast, spontaneous working methods, cutting and pasting existing images; ‘remixing and sampling classics’ in art to make new pieces with their own mark. Miss Bugs began in the early days making small scale works on paper, using screen printing with hand painted elements. They then scaled the work up, making life size cut outs of characters to place in situ on the streets of London. These were left in place to become part of the cityscape and recorded through photography. Their most recent works are larger scale pieces, incorporating laser cut planes of wood, hundreds of small component objects and poured resin. These pieces are time consuming and labor intensive, and a long way from the quickly constructed art pieces of the early days. Miss Bugs has always taken a broad and varied approach to creating work. The combining of materials and objects, alongside the way contemporary imagery can be collaged together, either by hand, through photography, or using a digital process is important to the duo. The focus of the work has always been the human form, as Miss Bugs’ interest lies in developing ‘characters’ to tell a story. Archetypal imagery from magazines, art history and films are used as a starting point, which are then cut, overlaid, and distorted to produce character-portraits with an arresting graphic look. The influence of collage and graphic artists like Hannah Hoch and Allen Jones can clearly be seen in the work. The layering and placing of color and pattern are also intrinsic to the work and is very much a hands-on element for Miss Bugs in the construction of the final pieces. Miss Bugs have exhibited in New York, LA, San Francisco, Paris, and London. Their artwork has been in several significant exhibitions around the world including- Art Miami 2021; The Saatchi gallery Permanent Collection; Palm Beach Modern + Contemporary 2022; Market Art & Design Hamptons 2021; Hamptons Fine Art Fair 2022; Echo Chamber, Miss Bugs, Mayfair, London, UK; Parlour, Miss Bugs, Brooklynite Gallery, NY, USA; The State of Art, Miss Bugs, ink gallery, UK; SASML ft. Faile, Swoon, Cave Gallery, LA, USA; Bingo Night at the Promised Land, New Image Gallery, LA, USA; The Lost Ones ft. Shepard Fairey, The Date Farmers...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds, as well as his large-scale sculptures and restorations of forgotten historic homes. Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation and the New Orleans Museum of Art. Since his first solo show at the Fischbach Gallery in 1977, Slonem’s work has been showcased internationally hundreds of times, most recently at the Moscow Museum of Modern Art and the State Russian Museum in St. Petersburg. In 2017 and 2018, he was featured by the National Museum of the Republic of Kazakhstan, the National Gallery in Bulgaria, and in countless galleries across the United States and around the world. His flair and admiration for far-flung destinations has been a staple of his life since childhood. Slonem was born in 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. Hunt Slonem tends to embrace the ephemeral beauty of nature, a characteristic that brings a nurturing, spiritual effect to his creations. Throughout his extensive career as a New York artist, Slonem has favored the subject of exotic birds, rabbits, and butterflies. Lately, his compositions have consisted of flat spaces with simple forms pushed to the front of the picture plane. The artist creates exotic forms with expressive and highly textural brushstrokes that are full of intense color, loosely inspired by artists of the German Expressionism movement such as Ernst Ludwig and Emil Nolde. Henry Geldzahler, a scholar of Hunt Slonem, notes that of contemporary artists, “he particularly admires the work of Malcolm Morely...

Miss Bugs Algorithm Chamber Prisms, 2021 Hand cast polyurethane crystal resin on wood and aluminum - with aerosol and silk screen 66.90 x 47.20 in

KAWS is a multi-faceted artist straddling the worlds of art and design in his prolific body of work that ranges from paintings, murals, and large-scale sculptures to product design a...

Cheeky references to pop culture and the societal context. Donald Duck is cast in resin with banknotes inside. Grounded in a postmodern vernacular, Alben’s paintings and sculptures ...

Eladio de Mora-Granados, dEmo, is one of the most original creators on the Spanish art scene. Born in Mora, Toledo, in 1960. A self-taught artist, dEmo's concerns began when he conc...

Eladio de Mora-Granados, dEmo, is one of the most original creators on the Spanish art scene. Born in Mora, Toledo, in 1960. A self-taught artist, dEmo's concerns began when he conc...

Eladio de Mora-Granados, dEmo, is one of the most original creators on the Spanish art scene. Born in Mora, Toledo, in 1960. A self-taught artist, dEmo's concerns began when he conc...

TOM OTTERNESS Horse and Rider Maquette, 2003 White Resin Sculpture held in original box 5 1/2 × 3 1/2 × 2 inches Signed Tom Otterness Incised signature on the feet (see photos) Limited Edition (exact number produced unknown) This 2004 Horse and Rider black resin maquette is a miniature of famed American public sculptor Tom Otterness's large bronze "Horse and Rider" sculpture located at Texas Tech University's Student Union Gathering Pavilion. Rarely found in the original vintage box - this is a collectors item! The original piece was commissioned by the Student Union to celebrate Texas Tech's famous mascot - "The Masked Rider". Otterness' version of the mascot depicts the Masked Rider atop of the horse, kicking its “feet triumphantly in the quest for truth,” as he describes. (The tradition of the Masked Rider started as a dare in 1936 when an unidentified masked or ghost rider would circle the football field during home games. The Masked Rider became an official Texas Tech mascot in 1954.) The artist made a limited series of white and black resin multiples back in 2003 as a result of numerous requests by students for affordable models of the Horse and Rider. They were only available for sale by the Texas Tech student union and sold out very quickly. Although there is no stated edition, it was a one-off offering, produced by the artist just for Texas Tech students, with no second editions ever made. Once they sold out - that was it. Now Otterness' "Horse & Rider" is a highly desirable vintage collectors item. Created in an unknown but very limited first edition only back in 2003. Horse and Rider is difficult to find, - so if you're an Otterness (or Texas Tech) fan, we recommend you snag this one! About Tom Otterness: Tom Otterness was born in Wichita, Kansas in 1952. He came to New York City in 1970 to study at the Arts Students League, and in 1973 took part in the Whitney Independent Study Program. In 1977 he became a member of Collaborative Projects, a pioneering community of independent artists, and took a leading role in organizing Colab’s 1980 Times Square Show, which was called “the first avant-garde art show of the ‘80s” by the Village Voice. Otterness is one of a handful of contemporary artists invited to design a balloon for the Macy’s Thanksgiving Day Parade, for which he devised a tumbling Humpty-Dumpty in 2005. Otterness lives and works in New York. Otterness may well be “the world’s best public sculptor,” as the art critic Ken Johnson opined in the New York Times in 2002. Public art is his focus, and Otterness has had major outdoor exhibitions of his sculptures on the Park Avenue Mall in New York (2003), in more than a dozen sites in downtown Indianapolis (2005), on the grounds of the Beverly Hills city hall (2005-06) and throughout Grand Rapids, Michigan (2006). His first solo exhibition, held at Brooke Alexander Gallery in New York in 1983, featured elements of The New World (1991), a white plaster frieze of 250 nude “Ur-people,” as essayist Hayden Herrera called them, eventually destined for the plaza of the Edward R. Roybal Federal Building in Los Angeles, a General Services Administration commission. In the U.S., Otterness has completed at least three dozen public commissions, including Life Underground (2004), his celebrated multi-figural bronze sculpture installation for the New York Metropolitan Transportation Agency at the 14th Street station on the Eighth Avenue subway lines. His international commissions include public plazas in Münster, Germany (1993), Toronto, Canada (2007), and Seoul, South Korea (2010), and a large public park in Scheveningen, the Netherlands (2004). In 2013, Creation Myth, a gateway park for the Memorial Art Gallery in Rochester, N.Y., was dedicated. Otterness has exhibited his work at John Berggruen Gallery in San Francisco, and other important contemporary art galleries. His most recent exhibition, Metal on Paper: Silverpoint, Copperpoint & Steelpoint Drawings, opened at Marlborough in September 2015. Works by Otterness are included in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, the Eli Broad Family Foundation, the Brooklyn Museum, the San Francisco Museum of Modern Art, the Carnegie Museum, the Museo Tamayo in Mexico City, the Israel Museum in Jerusalem, and others. He was elected a member of the National Academy in 1994. Most recently, Otterness has installed The Tables from the collection of the Whitney and 50 new sculptures in niches at the Cathedral of Saint John the Divine, as part of the group exhibition, The Value of Food. On a personal note, Otterness has practiced Tai Chi, martial arts, and boxing in the school of William C. C. Chen since the 1970s, and his studio features a boxing bag...