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The Meter Man (Green) (2007) 绘画 由 Robert Saller
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“艺术”在纸上打印
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光面漆
纤维纸除了具有非凡的厚度外，还由不含酸的α-纤维素基底组成，并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色，不泛黄，特别设计用于抵抗老化。它具有出色的分辨率，呈现深沉的色彩，因此已被世界各大博物馆所采用。
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原创艺术品 (One Of A Kind)
绘画,
丙烯
在帆布上
- 外形尺寸 高度 43.3in, 宽度 33.5in
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- 是否含画框 此作品未装裱
- 分类 画作 低于US$20,000 波普艺术 流行文化
Saller, a member of the renowned “Poptrans” group, brings together the aesthetics of mass production with symbolic and cultural depth. The painting’s vivid green background is adorned with floral patterns inspired by Transcarpathian decorative wall painting, giving the impression of a domestic interior. But the device itself – painted in shades of red and violet – seems to stare out from the canvas with wide, fuse-like eyes, anthropomorphized into a strangely sentient form.
The title carries a sharp double meaning. In Ukrainian and Russian slang, the word “счётчик” (meter) refers not only to a household device but also to a debt collection tactic – “to be put on the meter” implies steep, coercive interest rates. With this in mind, The Meter Man (Green) becomes a commentary on pressure, control, and quiet systems of surveillance within daily life.
Executed with stencils, rollers, and minimal brushwork, this piece is visually flat yet rich in metaphor. A rare find for collectors of post-Soviet art, conceptual pop, or works exploring the intersection of domestic space and power structures.
相关主题
Robert SallerPoptransUkrainian Pop ArtElectricity Meter PaintingSoviet Nostalgia
Robert Saller (born 1967) is a Ukrainian contemporary artist whose work fuses pop art aesthetics with conceptual sharpness and socio-psychological critique. He graduated from the Uzhhorod College of Applied Arts in 1987 and has been a key member of the Ukrainian art collective Poptrans since 1996. He currently lives and works in Lviv, Ukraine.
Saller works primarily in acrylic on canvas, rarely using brushes. Instead, he applies paint using rollers, sponges, and intricate stencils – a technique that creates bold, graphic surfaces reminiscent of printmaking. This method aligns his work visually with artists like Roy Lichtenstein, though his content carries a darker and more ironic undertone.
His paintings engage with themes of memory, gender roles, emotional trauma, and the mythologies of both personal and collective identity. Through striking imagery and satirical compositions, Saller explores the tension between surface beauty and underlying discomfort.
Among his most recognised projects is the Man Woman Blackout series – a deeply personal response to a breakup, where scenes of stylised romance are overlaid with hidden tools or weapons. Several of these works include luminophore pigments that glow in the dark, revealing an entirely different layer of meaning once the lights go off. This duality – intimacy versus violence, light versus darkness – is central to his practice.
His earlier series Bad Beautiful presents infamous figures as innocent children, challenging viewers to reflect on the roots of power and morality. In Carpathian Album, Saller satirises folkloric and ethnographic clichés by inventing fictional Carpathian music icons, accompanied by mock album reviews and cultural myth-making.
Robert Saller has exhibited extensively in Ukraine through solo shows at venues including Karas Gallery (Kyiv), Dzyga Gallery (Lviv), and M17 Contemporary Art Center (Kyiv). His work has also been included in numerous group exhibitions across Europe and beyond – in Hungary, Lithuania, Germany, Poland, Sweden, France, and the United States, among others.
Blending visual provocation with conceptual rigour, Saller’s work offers a powerful and unsettling commentary on the emotional and cultural codes we take for granted.
