In he opened his own StolenSpace gallery in London. His style is easily recognizable as he uses pictures of cultural icons Andy Warhol, Marilyn Monroe, the Queen, etc. He also gets his inspiration from the works of artist Roy Lichtenstein. Welcome on Sold Art. SOLD ART is an online art gallery and fine art publisher which proposes a selection of works realised by famous artists.
About Sold Art. Shipment and delivery Security and payment options Imprint and terms and conditions of sale About us. Follow us. Sold Art uses cookies to offer you the best service. By using our website you accept our cookies policy. Accept Conditions. Sign Up. Get Citizine Updates Here. We sat down with the artist before the opening of his latest and largest-ever solo exhibition, Happy Never Ending at Corey Helford Gallery to chat about his work and his love for Los Angeles.
I love it here. As a child, my parents couldn't afford to even think about traveling to America, so I used to gaze upon the idea of America and American culture through rose-tinted spectacles. Decades later, I found myself in a position where I could travel for work and California was one of the first places I wanted to come.
If I was trying to polite about LA, it's massive blue skies and beautiful weather. It's palm trees and the ability to be on the beach, in the hills, or within the hubbub of the city all within the same place—a rare combination. Elsewhere, you get one or two, but never four or five of those bright elements. If I want to describe it with less frills, it's a giant car park.
It's a concrete mess and the prettiest places aren't in the city itself. It's not until you get further out that you start to see the beautiful California culture I have fallen in love with. I painted a piece called "Going Nowhere Fast" and though it's still there,you can't see it because they built a building in front of it and there's only a two-inch gap. The mural is encapsulated like a hidden treasure.
It's still there, you just can't see it. Including the new one, "Parting Kiss" it's six or seven. They are part of my relationships or from very good friends' relationships, but they're mostly a direct reference to myself—feelings I've had in the past or feelings I'm having right now.
The characters, visually, tend to have a serious hair and rock and roll quiff. The women specifically tend to reference my friends and lovers. Visually, I've always been inspired by bold black lines and obviously Lichtenstein from a pop art point of view , but I always try to imbue a darker, more relevant twist to today's society.
Are there any connecting plot points between your murals, paintings and sculptures? There are definitely stories connecting some of them where you can see the couple in the same painting and there's a narrative going on. So tell me a little bit about "Happy Never Ending" and your ethos behind it? Working with a variety of mediums and techniques, DFace uses a family of dysfunctional characters to ridicule and hold to ransom all that falls into their grasp - a welcome jolt of subversion in today's media-saturated environment.
His aim is to encourage the public not just to 'see', but to look at what surrounds them and their lives, reflecting our increasingly bizarre fascination with celebrity culture, fame, consumerism, and materialism. By rethinking, editing and reversing imagery drawn from decades of materialistic consumption - currency, advertising and comic books , the artist subverts these now iconic motifs, cultural figures, and genres in order to comment upon our conspicuous society.
DFace constructed the term aPOPcalyptic to describe his artworks, which can be seen in a variety of different media applying his playful, tongue-in-cheek imagery with anti-establishment values.
Past examples include his collaboration with Her Royal Highness Queen Elizabeth II on a series of banknotes that were put into circulation for an unsuspecting public to notice in their change. DFace's paintings regularly sell at Christies, Sotheby's and Bonhams auction houses and yet he still continues to put his work illegally into the public domain. Although he has also increasingly shown at galleries and other venues, DFace approaches these sites with the same anarchic energy as with his public pieces.
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