Stapler Op Art #2 (2023) Arts numériques par Stuart Hicking

Papier d'art, 11x8 in
  • Ce travail est une "Open Edition" Arts numériques, Giclée / Impression numérique
  • Dimensions Plusieurs tailles disponibles
  • Plusieurs supports disponibles (Papier d'art, Impression sur métal, Impression sur toile)
  • Encadrement Encadrement disponible (Caisse américaine + sous verre, Cadre + sous verre acrylique)
  • État de l'œuvre L'œuvre est en parfait état
  • Catégories Pop Art Scène de genre
This is a follow-on from Sardines Zigzag. Op Art was a big event in London of the 1960s. The main artist, unusually a woman, was Bridget Riley who championed the obsession with stripes and checks. My angle is to celebrate such iconic work with a little playfullness in the form of ordinary items. in this case a stapler. À propos de cette œuvre: Classification, [...]
This is a follow-on from Sardines Zigzag. Op Art was a big event in London of the 1960s. The main artist, unusually a woman, was Bridget Riley who championed the obsession with stripes and checks. My angle is to celebrate such iconic work with a little playfullness in the form of ordinary items... in this case a stapler.

Thèmes connexes

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I went to art college back in the 1970s, where I received a BA 1st (Hons) in Fine Art before completing an MA at the Royal College of Art in the film school. I then worked in film and video production and finally [...]

I went to art college back in the 1970s, where I received a BA 1st (Hons) in Fine Art before completing an MA at the Royal College of Art in the film school. I then worked in film and video production and finally the education sector before early retirement.
The main influences on me, during my early days, were the artists being talked about in the 1970s, such as Jasper Johns, Robert Rauschenberg and Jim Dine. The New York scene seemed to combine and challenge what art, performance and film could be in a way that has left a permanent mark on my psyche. This cocktail of Pop Art imagery and Abstract Expressionist mark-making seems to be where I feel most comfortable.

The imagery I refer to in my work is autobiographical and has a backstory which is both personal and yet familiar to us all. It is where everyday objects seem to mean a lot.

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