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Peter Combe
Nova (L) 45˚

2018

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  • "Care Bear Warfare - instagram art, pop art, contemporary, street art
    By Penny
    Located in New York, NY
    11 layer hand cut stencil Spray paint on vintage civil war trading cards, circa 1962 Framed in musuem quality shadow box frame with premium non-glare...
    Category

    2010s Contemporary Mixed Media

    Materials

    Spray Paint, Archival Paper

  • "System Error" contemporary street art spray paint on currency framed in black
    By Penny
    Located in New York, NY
    13 layer hand cut stencil. Spray paint on ten Pound banknote in a black shadow box frame with museum quality non glare glass. I'M PENNY AND I HAND CUT EXTREMELY DETAILED AND OCCASIONALLY MIND-BOGGLING TINY STENCILS WITH MY BARE HANDS ... AND A SCALPEL. IN THE BEGINNING... The first stencil I cut was in 2001 when I was at Central Saint Martins doing a graphic design degree. I was so poor at the time that whenever we got a project I would always try to work out the cheapest possible way to do it… most of the time that meant making my course work out of paper, masking tape and found items...
    Category

    2010s Contemporary Mixed Media

    Materials

    Spray Paint, Archival Paper

  • "Rerun, Episode 1" - In a black museum quality Frame w/ premium non-glare glass
    By Penny
    Located in New York, NY
    9 layer hand cut stencil framed Spray paint on vintage civil war trading cards, circa 1962 Mounted on black mount board Framed in musuem quality shad...
    Category

    2010s Contemporary Mixed Media

    Materials

    Spray Paint, Archival Paper

  • "Printer Error" contemporary street art spray paint on currency framed in black
    By Penny
    Located in New York, NY
    13 layer hand cut stencil. Spray paint on ten Pound banknote in a black shadow box frame with museum quality non glare glass. I'M PENNY AND I HAND CUT EXTREMELY DETAILED AND OCCASI...
    Category

    2010s Contemporary Mixed Media

    Materials

    Spray Paint, Archival Paper

  • Pop Art, blue “Batman” paint swatches hole cut in museum frame non glare plexi
    By Peter Combe
    Located in New York, NY
    Mixed media (household paint swatches) Framed in white with Optium museum quality non-reflective Plexiglass The artist uses (Home depot household pai...
    Category

    2010s Pop Art Mixed Media

    Materials

    Plexiglass, Archival Paper

  • Pink Mona Lisa Contemporary Pop Art paint swatches in museum frame figurative
    By Peter Combe
    Located in New York, NY
    Mixed media (household paint swatches) 32 x 16” x 2 inches 2023 Framed in white with Optium museum quality non-reflective Plexiglass The artist uses (Home depot household paint...
    Category

    2010s Pop Art Mixed Media

    Materials

    Plexiglass, Archival Paper

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    Located in Cape Town, ZA
    This unique artwork is created with pastels, charcoal, spray paint and acrylic paint on fabriano paper in order to create a complex composition with depth and texture. The artwork i...
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    2010s Contemporary Mixed Media

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  • Cut w/ Surgical Scalpel on 2 ply Museum Board: 'Red & White Stripe Circle-In'
    By Elizabeth Gregory-Gruen
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    “CUT WORK” is an evolving examination of emotion experienced through the inspired meeting of blade and paper. Beginning with the featureless plane of a blank paper canvas and a surge...
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  • Good- blue contemporary figurative photo transfer of women on paper and thread
    By Michele Landel
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    Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes of exposure, absence, and memor...
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  • The Second Flight
    By Jessica Houston
    Located in Montreal, Quebec
    A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...
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    2010s Contemporary Mixed Media

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  • Drawing in Water
    By Jessica Houston
    Located in Montreal, Quebec
    A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...
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  • They Surveyed the Mountain Peak as a Philosophical
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    A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...
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