HERAKUT 4 – 7 FUTURA 8 – 11 BEST EVER 12 – 13 CARRIE REICHARDT 14 – 15 DOTMASTERS 16 – 17 NICK WALKER 18 – 21 RIPO 22 – 25 SHEPARD FAIREY 26 – 27 SICKBOY 28 – 29 WORD 2 MOTHER 30
HERAKUT Hera was born in 1981 in Frankfurt. She lives in Frankfurt and works in Schmalkalden. Akut was born in 1981 in Schmalkalden. He lives and works in Schmalkalden. Herakut is a symbiosis of the aliases Hera and Akut, two graffiti artists from Frankfurt and Erfurt, Germany. Herakut is an artist with four hands: those of Akut the graffiti artist, and those of Hera the painter. Their collaboration started when they first met in 2004. Both were invited to paint at the Urban Art Festival Sevilla in Spain and before that time had only seen each other’s work in graffiti magazines. To everyone and themselves it was clear that despite the fact they both focused on character painting their styles had nothing in common whatsoever. And that has not changed a bit. Since 2004, Herakut has been combining Akut’s photorealist spray paint with Hera’s more traditional techniques such as charcoal and acrylic. Hera is a classically trained painter who “creates gestural, emotional figures in a freestyle manner using numerous tools including spray cans, brushes, and her hands.” Akut is completely self-taught yet is skilled in creating hyper-realistic images of animals and flesh using only a spray can. “What initially seemed like an unlikely pairing both conceptually and technically has since become one of the foremost collaborations in urban art and an innovative presence in contemporary painting.” Both artists express themselves on different bases: canvas, wood or paper. Their profoundly contrasting methods give birth to stylized works which decorate the streets with their strange uniqueness. On a background often made by Hera, Akut begins to lay strokes and creates a face without knowing what body Hera is will extend it with, and so on. Their approaches combine with, and complete each other, as each artist improvises on top of the other’s idea in order to come up with an end product that gives off an almost schizophrenic vibe. There begins to emerge dreamlike paintings and narratives overflowing with black humor. Man seems to oscillate between his mythological lineage, his animal urges and a body which confines him within the limits of his wounds. On each exhibition, Herakut present works of art each more audacious than the last, where Akut’s work collides with Hera’s abrasive and sexualised world. The differences in Hera’s and Akut’s ways of approaching art and the painting itself are vast. Akut started doing graffiti at the age of fourteen with no artistic background. The photorealism he spray paints today is self-taught and needs a bundle of preparations consisting of a concept that has been mapped out on the computer, high resolution photo-material and a predefined assortment of aerosol paints. If this is all set, Akut patiently assembles his characters dot by dot with one eye on the concept, the other on the wall, while blending out everything else. Hera in contrast thinks that preparing a piece is to handcuff yourself. It ties your perception to the sketch and allows no space for the influence of the surrounding atmosphere or any immediate response to the wall as a very individual medium to paint on. Different from Akut who had experienced graffiti closely connected to the hip-hop culture, Hera just felt the urge to work big-dimensioned when she originally started to paint on walls in 2001. Therefore none of the unwritten rules and restrictions of the established graffiti scene had an impact on her work although another mental boundary did. As reaction to years of strict education of artistic techniques which Hera had received as a child, she today demands as much freedom as possible for intuition and spontaneity in a painting. widewalls.ch/artist/herakut Title: It was too easy to scare them off Creation Year: 2010 Size: 150 x 50 cm Price: POA
We have this amazing triptych from Herakut in our Collection since 2011. The artwork series is titled “Fun is not for Everyone” and depicts the signature Herakut figurines. Affronted, all of them avert their eyes from ours. In subtle red-brownish earth tones they sulk at us because they are everyone, an ending that especially Berta didn’t like. 4
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Title: Swing Creation Year: 2010 Size: 80 x 60 cm Price: POA
Title: Masterpiece Creation Year: 2010 Size: 120 x 120 cm Price: POA
We bring you another magnificent piece by one of our favorite duos in street art: Herakut. The 80cm x 60cm ‘swinging dog’ piece is one of Herakut’s mixed media artworks. They create the 3-D swing effect by deconstructing the framed canvas and placing the dog in between the torn canvas pieces. Artistically reoccurring is the pug. Like on many other Herkaut artworks the pug is depicted with children or as in this piece alone. The pug is the central imagery of “Swing”. Characteristic for Herakut they play with the concept of anthropomorphism. Herakut transfer the human ability of grasping ropes onto the pug, giving the animal a childish appearance. The pullover and the party rest do the rest to remind us of a little kid sitting on a swing. The child theme completes the Herakut palette of reoccurrence in “Swing”. 6
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Futura There is no one else quite like Futura. He helped define the street art movement, but he is not a stereotype. He’s an established and internationally renowned artist, photographer, sculptor and graphic designer, but his first medium was the urban fabric of downtown New York City. He defined the graffiti movement of the early ‘70s, painting an entire subway car without lettering, his work instead defined by an abstract, expressive aesthetic. There is no one else quite like Futura, and according to the man himself, Futura isn’t even real. Futura born in New York 1955 is the pseudonym of Lenny McGurr, a graffiti legend that is best known for his Abstract approach to street art. The New York-based artist became a graffiti writer at 15. After reading Alvin Toffler’s seminal work Future Shock, Lenny settled on the superhero pseudonym Futura 2000 (dropping the 2000 after the new millennium passed). He began painting on the subway system as a teenager in the early 1970s. Futura helped to define the New York’s street art scene, went on to tour with the Clash, then found himself exhibiting alongside prominent New York artists Jean-Michel Basquiat and Keith Haring at Fun Gallery. In 1981 Futura toured with band ‘The Clash’, during this time he began creating graffiti works ‘legally’ as a live on-stage painter for the group. He painted the backdrops for The Clash’s European tour and designed the sleeve for their This Is Radio Clash single, and in 1982, handwrote the sleeve notes and lyrics sheet for their Combat Rock album. He continued to tour with the band and spray paint backdrops during the performances. During the 1980s, graffiti art predominantly focused on lettering, Futura’s work was less literal. The abstract style of street art pioneered by Futura has been highly influential and has become increasingly popular as a result Futura has also worked in conjunction with British DJ James Lavelle in order to create imagery that has largely defined the DJs increasingly successful ‘UNKLE’ project. Futura also works and designs for his Japan based clothing label ‘Futura Laboratories’. He has exhibited at venues the world over including ICA (London, UK), Solaria (Fukaoka, JP), TBM Experiment (Rome, IT), and Gallery du Jour (Paris, FR), among various others. More recently, Futura has transitioned into working as a graphic and commercial artist. He has worked with companies such as Nike, Recon, and Medicom Toy, and designs clothing for his label Futura Laboratories. His work has been exhibited at MoMA PS1 in New York, the Grotinger Museum in the Netherlands, and the Gallery Du Jour in Paris and a variety of other museums and galleries around the world. widewalls.ch/artist/futura Title: Pointman (blue & orange) Creation Year: 2008 Size: 61 x 46 cm Price: POA
The Pointman series is probably the most recognizable Futura artwork. The success story of the Pointman began in 1988. Futura was asked to design the cover art for UNKLE. Their debut album (Psyence Fiction) was also the debut of the Pointman. Futura created the Pointman as a robotic figure with an elongated head, giving it the shape of a Spaceship. “Without the UNKLE experience, I don’t think anyone would have ever heard of the Pointman”. With the success of the music album came the success for the Pointman. Japanese toy manufacturer Medicom produced collectible toys. Bathing Ape, Nike and Levi’s were collaborators. The ventures gave Futura the opportunity to continue the development of his own brand: Futura LABARATORIES. The brand collaborated with the Japanese technical clothing company Descente that used the Pointman on several electronic accessories. The Pointman became the Futura signature piece and for us as Futura admirers it was a must.
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Title: Odyssey Two Size: 140 x 160 cm Creation Year: 2009 Price: POA
Title: Untitled Size: 35 x 27.5 cm Price: POA
These artworks are signed by Futura and held in monochromatic black and white. Each painting is 35cm x 27.5cm and depicts a different Japanese-comic-inspired Futura figurine. Originally these works were not intended to be a series of seven, each painting was to be sold individually.
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Best l Ever Salute from the coastal resort town of Bournemouth in Dorset, England Neil and Hadley make up the artistic duo better known as ‘Best Ever’. Both have graffiti backgrounds to flatter their skills in photorealism. Best Ever have been painting for about 15 years now and Neil started in the 54 crew, doing straight up, commercial photorealism pieces. Neil then bumped into Hadley in Bournemouth who mentioned that they should try working together. It turned out that they actually had very similar ideas. Best Ever working when working together, Hadley would normally start by throwing some paint at the wall and begin to make lines and angles in a very loose style. From there on, they never know who is going to work on what part. It really varies from piece to piece, in terms of who does the photorealism part, who does the loose sketch part. Some canvases have more input by Hadley and other parts have more input from Neil. A lot of times it will start from a really loose idea and then Hadley might lay down some ideas in his sketch book and then they add more and more realism elements. Best Ever work always evolves and you can never tell from the initial sketch what the final outcome will be. Best Ever’s work have a lot of parallels with Herakut. They there have been a lot of negative statements, saying that Best Ever are biting their style. Best Ever’s work is anatomical and surgical way of looking at human figures. It’s mainly about death and disease. They like painting the things that you don’t see in a human; different angles, bones, blood and cells; even working out calculations that occur by just keeping a body alive. widewalls.ch/artist/best-ever
Title: Untitled Creation Year: 2009 Size: 121 x 76 cm Price: POA
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Title: Untitled Creation Year: 2010 Size: 121 x 76 cm Price: POA
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CARRIE REICHARDT Carrie Reichardt is a leading contemporary artist, who works from a mosaic-covered studio in London, The Treatment Rooms. A figurehead for the Craftivism movement, Carrie uses murals, ceramics, screenprinting and graphic design in her work and is called upon to speak on the use of craft and art as protest – most recently for the British Association of Modern Mosaic’s annual symposium at the Victoria and Albert Museum in 2012. This year she will be the keynote speaker at the Mosaic Association of Australia and New Zealand International symposium. Inspired by William Morris and the long-standing tradition of subversive ceramics in the UK, Carrie Reichardt has created ‘Mad in England’. A series of affordable, subversive souvenirs that celebrate the protestor and tap into a national mood of dissent that reaches from Occupy the City to UK Uncut. Carrie trained at Kingston University and achieved a First class degree in Fine Art from Leeds Metropolitan. She was Artist in Residence at Camberwell Art College in 2009. Following a period as Artist in Residence at The Single Homeless Project, she remains a proactive supporter, donating a percentage of the profits from some of her ‘Mad in England’ series to the charity. Her work has appeared in leading galleries around the world and she represented the UK as part of a group of international artists invited to mosaic the Argentinian Government building in Buenos Aires. Carrie has been awarded the Winston Churchill Travelling Fellowship for 2013 and will be funded to travel and study in Chile and Mexico with the aim of ‘Advancing the craft of community mosaics in the UK’ on her return. Carrie’s recent work includes: The Tiki Love Truck – commissioned by ‘Walk the Plank’, specialists in outdoor performance, this mosaiccovered pick-up truck, was dedicated to the memory of a death-row inmate. Winning first prize at the inaugural parade in Manchester, the truck has since participated in the Illuminated Parade in Blackpool and the Glowmobile Parade in Gateshead Trojan Horse – a life-sized resin horse, with a skull for a face and coated in a mosaic of hard hitting facts about the abuse of horses, made in collaboration with sculptor, Nick Reynolds. An audacious protest against equestrian cruelty, displayed at the Cheltenham Festival Races, an event symbolic of the British establishment and an international epicentre of horse racing. The project was featured in The Guardian. The London Elephant Parade 2010 – Carrie’s mosaic elephant, ‘Phoolan’, was part of the largest ever public art event – taking pride of place outside London’s Natural History Museum. The Milan Elephant Parade – Carrie and Nick Reynolds’ elephant was inspired by the revolutionary spirit spreading across the world and conveyed the message that ending capitalism is the only true way to save the elephant and the planet. The elephant was displayed outside the Triennale de Milan Museum of Art. Mary Bamber – Carrie’s life-sized ceramic-adorned figure of the revolutionary socialist, Mary Bamber, is now on permanent display at the Museum of Liverpool. Carrie has recently become a committee member of Acton Arts Forum and is working with them to help established the new community run W3 Gallery on Acton High street and on various local projects to incorporate art into the local area. Carrie Reichardt’s work has featured in the press including, The Observer, The Guardian, The Evening Standard, Tile and Stone and in several books including; ‘1000 Ideas for Creative Reuse,’ Garth Johnson, ‘Mural Art No 2’, Kirikos Iosifidis and ‘The Idler 42 – Smash the System’ – Tom Hodgkinson.
Title: Ceramic Spray Cans Creation Years: 2007 – 2009 Size: 17.5 x 6.5 cm Price: POA
Beginning in 2006 the British artist created a variety of unique ceramic spray cans. Ten of these spray cans are now part of The Widewalls Collection. They are ceramic slips with silver luster and on-glaze, layered, printed transfers. Carrie Reichardt chose the spray can because it is a contemporary, iconic symbol of resistance that resonates with a growing audience for urban and street art. She wanted to expose them to certain ideas, to a particular kind of political content. Graffiti, writing on walls is a potent, expressive form. Carrie experimented with different shapes and forms of spray cans. Using a range of traditional and experimental techniques Carrie Reichardt could introduce the kind of images and texts to the clay surface, that she would have referenced if she had the ability to use a real aerosol can artfully. Capital punishment and colonialism are dominant themes. These ideas are juxtaposed, composited and bonded by the process, into the surface of the objects. Every spray can is an original work of art. Carrie Reichardt occasionally created small, thematically linked sets of up to ten cans. However within a set each item is one of a kind. She worked in small batches, the success of which is never guaranteed. In each batch the artist may lose one or all of the pieces. It takes two to three weeks to create each batch. Carrie Reichardt explains the story of every can …
widewalls.ch/artist/carrie-reichardt
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DOTMASTERS Born and raised in London, The Dotmasters is the offspring of C6.org, a new-media based collective of artpranksters. Active throughout the 1990’s, they bridged the gap between art and activism with attention snatching events that pulled no punches. Hitting the headlines worldwide in 1997 with “Man in a box” they incarcerated and starved one of their members in a surveillance cube in a gallery in Brighton. Their work was eclectic, merging graffiti, new media and performance from the street, night clubs and galleries generating a steady stream of irreverent broadcasts. Founding member Leon Seesix, bored of the new-media world and the group dynamic started working under the alias ‘The Dotmasters’, sideways look at a populist medium says the East London based artist. The Dotmasters possesses a typically English sense of humor, throwing two fingers up at the passer-by with his impeccably detailed stencil work. As at home in the ghetto as he is in paradise, The Dotmasters work can be found anywhere from a pikey trailer park to the penthouses of Europe and have featured in both Banksy’s Cans Festival in Waterloo and his Oscar nominated feature film ‘Exit Through The Gift Shop’. A frequent collaborator with the Mutoid Waste Company, The Dotmasters love of the sinister has morphed the dark heart of the fair into a twisted set of sideshows, dubbed ‘The Unfairground’. The sideshows can be seen at festivals as far flung as Glastonbury and, Fuji Rock Festival in Japan. High striking Test Your Strength machines stand side by side of rigged knock-‘em-downs (‘The Crack Heads’) and unlikely ballgames of skill such as ‘The Gobbler’. widewalls.ch/artist/dotmasters
Title: High Roller Size: 55 x 100 cm Price: POA
Title: Digital Embassadors Size: 100 x 100 cm Price: POA 16
Title: Buff & Stacked Size: 100 x 100 cm Price: POA
Title: Bags of it Size: 100 x 100 cm Price: POA 17
NICK WALKER Nick Walker is one of the world’s best known street artists. Born in 1969, he emerged from the infamous and ground-breaking Bristol graffiti scene of the early 1980s. As a forerunner of the British graffiti phenomenon, Nick’s work has become a blueprint for hundreds of emerging artists. His work is constantly evolving and remains innovative, modern and thought-provoking. Walker’s work has been a major influence on the work of Banksy. Nick Walker’s signature street artwork is the Vandal. The Vandal is Nick Walker’s street art alter-ego that has found his place on walls all over the world. Walker’s work has been exhibited at galleries such as the Black Rat Projects in London, the Kantor Gallery in Los Angeles, and the 95 Gallery in Berlin, among others. Nick draws on the energy and imagery of graffiti but he succeeds in combining the freedom the spray can brings, with very controlled and intricate stenciling. The results are highly sophisticated and infinitely desirable. The methods he uses retain their forcefulness and integrity on the traditional medium of canvas. Nick Walker’s instantly recognizable style and humor have gained him a worldwide following. Nick Walker had sellout shows in LA and London, where collectors queued for over 24 hours to be among the first to get his latest print edition. In 2008, his iconic ‘Moona Lisa’ sold over ten times its estimated value at auction at Bonhams. Many of Walker’s works feature political messages, such as his ‘Coran Can’ (2010), a mural on the streets of Paris that depicts a line of women dancing the can-can and wearing Burqa; Walker was referring to President Sarkozy’s plan to ban the Burqa in France. Walker’s work in the movie industry includes painting sets for the science fiction film ‘Judge Dredd’ (1995) and Stanley Kubrick’s ‘Eyes Wide Shut’ (1999). In 2011, the Cooper Square Hotel in New York invited Walker to paint a mural inside its restaurant, The Trilby. In early 2014 Nick Walkers partakes in a charity mural in New York with a variety of other artists. Shortly after he traveled to Tokyo to complete yet another massive mural, Vandal style. widewalls.ch/artist/nick-walker
Title: Moona Lisa (Trytychon) Creation Year: 2013 Size: 150 x 100 cm Price: on request
This piece is one of Nick Walker’s signature pieces. The ‘Moona Lisa’ is also the Nick Walker painting that achieved the highest price at an auction. The ‘Moona Lisa’ reached a hammer price €60.000 (10 x the estimate) at Bonhams in 2008. Our ‘Moona Lisa’ is a triptych that was ground coated and stenciled in one piece and then severed into three. Each painting depicts Da Vinci’s creation with Nick Walker’s exhibitionist touch. The priming is silver, white and black, while the stenciled Mona Lisa’s moon us in 3 different color compositions. The reoccurring numbers 2, 3, 7 and 5 are stenciled in monochromatic black and white. Viewed from the left-hand side each painting picks up color ways from the previous. Markings on each 180cm x 130 cm painting indicate the original entirety of the artwork. The silver lines and the numbers continuing on the next piece are the most obvious hints. Harder to decipher is the Da Vinci Code that Nick sprayed in the background running along all three paintings at the same height.
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Title: Vandal Size: 58 x 46 cm Price: POA
Title: Butterfly Edition: Ap 5/24 Size: 78 x 65 cm Price: POA
This urban artwork is a four-piece canvas set from Nick Walker’s ‘Vandal’ set. The first canvas shows a blank wall. The next depicts the famous Vandal standing in front of that blank wall with an umbrella over his right shoulder. The third painting shows the Vandal walking away from the wall, the umbrella covering the most decisive element of the work. The last canvas reveals the Vandal’s doings. In red lettering he tagged the wall. With red krink marker he wrote VANDAL.
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RIPO Max (Ripo) Rippon was born and raised in NYC and currently resides in Barcelona, Spain. He began drawing from a very young age and with time his inspirations grew from comic books to skateboarding and graffiti as well as an art education and studying of art history. After graduating with a BFA from Washington University in St. Louis he left the United States for Barcelona, Spain where he has since been based. His work has become primarily text-based, exploring and communicating through typography, calligraphy and other hand-painted elements. His rhetoric often proposes questions rather than answers, always with a sense of sarcasm and humor crawling below the surface. He has had solo exhibitions in San Francisco, Barcelona, Brussels, and Vienna and exhibited in various international group shows including the 11 Spring St. Show in New York City, called one of the best art shows of 2006 by the NY Times. He has also painted murals legally and illegally in cities, remote villages, and abandoned structures across 36 countries in three continents.
Title: Money To Burn Edition: Edition of 3. #2 in the edition 2013 Size: 150 x 80 x 3 cm Price: 4500â‚Ź
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Title: Private Size: 55 x 80 x 3 cm Edition: Edition of 3. #2 in the edition 2013 Price: 2200â‚Ź
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Title: 93% Truth (Positive) Materials: Burnt plywood and latex paint Creation Year: 2014 Size: 78 x 50 x 10 cm Price: 7000â‚Ź
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Title: 93% Truth (Negative) Materials: Burnt plywood and latex paint Creation Year: 2014 Size: 86 x 58.5 x 13 cm Price: 7000â‚Ź
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SHEPARD FAIREY Shepard Fairey, born 15th February 1970, is a street artist and designer well known for his thoughtprovoking, and often controversial, designs. Graduating from the Rhode Island School of Design with a Bachelor of Fine Arts in Illustration, Fairey’s first major work was reproducing black and white images of the wrestler Andre ‘The Giant’ Roussimoff. The posters, paper and vinyl sticker reproductions of the wrestler were originally targeted at punks and skateboarders, but eventually became a more widespread phenomenon. They featured an appropriated image of the wrestler with the words ‘ANDRE THE GIANT HAS A POSSE 7’4in, 520lb’, but after the threat of a lawsuit against the use of the trademarked name ‘Andre the Giant’, Fairey applied the word ‘Obey’ to the same image instead. This was also to become iconic and a decisive move in Shepard Fairey’s career, particularly in subsequent works that featured the ‘Obey’ word without any associated image. The ‘Obey’ sticker campaign was an experiment in phenomenology. Shepard Fairey says, The ‘Obey’ campaign had no meaning, except to cause people to react, to contemplate and search for meaning? The intention was to provoke people through disassociating words with images that normally have an underlying motive (i.e. to sell a product). Shepard Fairey was responding to the effects of subliminal commercialism on audiences, prompting them to question their own role in digesting and utilising information and to get them to think beyond their own existence. Subsequently, the ‘Obey Giant’ street art campaign, which was posted throughout the streets of California, led to Fairey’s arrest on a number of occasions (as it is essentially a form of graffiti); an effect, which resonates in many of his more contemporary, works as well. Shepard Fairey, who himself is a member of the punk and skateboarding sub-culture, attributes his rebellious street art streak in part to this, as well as Soviet-era propaganda, 1960s-era psychedelic rock poster art and paintings from Works Progress Administration campaigns, all sources from which Fairey derives great inspiration. One of his more recent controversial works was a series of posters titled ‘antiwar, anti-Bush’ which he created in collaboration with artists Robbie Cond and Mear One in 2004. Images in this series include the former President, George Bush, hugging a bomb and another depicting George Bush as the devil. The Obama poster campaign, however, was a shift away from this. It did not hold that antagonistic streak reflected in these previous campaigns, but rather the Obama posters captured Fairey’s own forward looking and hopeful prospects for a new direction for the United States. Apart from initiating his own art campaigns, Fairey does select commercial work (he helped to develop a design firm called Studio Number One for this) and he designs for album art, skateboards, film posters and clothes (he also has his own clothing line which came about as a result of the ‘Obey’ sticker campaign). Examples of Fairey’s commercial work includes designs for the Black Eyed Peas album covers for ‘Elephunk’ and ‘Monkey Business’; the 2009 promotional material for the Earth Hour initiative and a range of creative branding designs for Pepsi, Nike, Electronic Arts, Hasbro and Netscape, among others. widewalls.ch/artist/shepard-fairey
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Title: Peace Edition: AP Creation Year: 2006 Size: 60 x 45 cm Price: POA
Title: Peace & Justice (black) Edition: 186 /300 Creation Year: 2012 Size: 60 x 45 cm Price: POA
Title: Peace & Justice (red) Edition: 136 /300 Creation Year: 2012 Size: 60 x 45 cm Price: POA
Title: Power to the people Edition: 233 /300 Creation Year: 2007 Size: 60 x 45 cm Price: POA 27
SICKBOY A leading artist to emerge from Bristol’s infamous graffiti scene, Sickboy’s humorous work has cemented his place in the upper echelons of the British street art movement. He is one of the first UK artists to use a logo in place of a tag, and his red and yellow street logo known as ‘The Temple’ can be seen on walls and wheelie bins worldwide. Sickboy has built up one of the largest bodies of street art works in UK history. His work hit the big screen recently in Banksy’s Oscar-nominated film, Exit Through the Gift Shop, and he is tipped by the leading financial press as one of the movement’s most bankable artists. His temples, slogans and audacious stunts – including the caged heart installation dropped outside the Tate Modern in 2008 – have landed him global recognition. widewalls.ch/artist/sickboy
Title: Untitled Dimensions left: 120 x 90 cm Dimensions center: 120×120 cm Dimensions right: 120×90 cm Creation Year: 2013 Price: POA
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Title: Walking off the set Size: 130 x 90 cm Price: POA
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WORD 2 MOTHER
Title: ‘Take It From Me ...’ Materials: Mixed Media On Wood Size: 124 x 124 cm Price: 5000€
Title: Twice Baked, Like Mother Used To Make Size: 172.7 x 127 cm Price: 5000€
‘Take It From Me ...’ on wood and ‘Twice Baked ...’ on canvas, both perfectly showcase Word To Mother‘s signature elements of typography, cartoon references, tattoos and pattern into a cornucopia of colour and texture. Melancholic figures form the focal point of these dynamic and rich pieces from one of the leading names in London Street Art. These recent works fuse loose, gestural marks with areas of great detail and refinement, showing a maturing of style and application from WTM that is exciting to see.
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