Landscape Growth Panel (Copper Oxide Green)

$ 1,081

Weight1 kg
Edition size :

25

Dimensions :

76 cm x 56 cm (29.92 in. x 22.05 in.)

Paper :

BFK Rives 270 g.

Technique :

Lithograph 5 colors printed with Marinoni lithographic press, hand cut.

Co-edition :

with MAMCO Genève, the Museum of Modern and Contemporary Art of Geneva.

Signature :

Signed by the artist, numbered and stamped by our publishing house.

Year :

2019

Collection :

Lithographs

Price :

No prices available for the moment

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“Landscape Growth Panel” is an image of the life process through very simple iconography: the radiant sun and a growing flower. There isn’t a traditional horizon line to situate the “landscape”. Instead I think of it as a collapsed and schematic space where the sky, the ground and the material of the image itself all fuse together in another space. The bas-relief effect is a non-digital imitation of digital rendering tools, whose geometric illusionism in turn derives from decorative techniques that are thousands of years old.

While the sun and the flower are incredibly basic images, I hope the artwork evokes human reverence for our Earth’s generosity.

Weight1 kg
Edition size :

25

Dimensions :

76 cm x 56 cm (29.92 in. x 22.05 in.)

Paper :

BFK Rives 270 g.

Technique :

Lithograph 5 colors printed with Marinoni lithographic press, hand cut.

Co-edition :

with MAMCO Genève, the Museum of Modern and Contemporary Art of Geneva.

Signature :

Signed by the artist, numbered and stamped by our publishing house.

Year :

2019

Collection :

Lithographs

Price :

No prices available for the moment

PRINT PDF

greg-parma-smith-contemporary-artist-jrp-editions

Greg Parma Smith

Greg Parma Smith was born in 1983 in Cambridge, Massachusetts. He lives in New York. He is known for his precise painterly realism, which incorporates elements of academic figuration, representational painting, neo-pop, and appropriation art.

In his work Greg Parma Smith samples the iconography of comics, neoclassical nudes, graffiti, Song Dynasty literati painting, and trompe l’oeil arabesques. As described in MAY No.17, Smith critiques “the way in which subcultures are brought into a dominant domain” by highlighting “exploitative taboos long repressed and smoothed over in so-called high-low narratives in advanced art.”

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