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Philippe Le Miere's art takes us on a shape shifting journey through pop culture, where the focus moves from the artist to the viewer. Within this original composition, familiar symbols are playfully transformed as Le Miere adroitly intertwines the motifs of two esteemed Australian art icons, Sidney Nolan's Ned Kelly and John Brack's Collins Street.Within this artwork, Collins Street Melbourne, renowned for its exclusive brands and opulent luxury, discreetly weaves into the subtext. Le Miere artfully incorporates the allure and opulence synonymous with this iconic street, offering a keen commentary on consumer culture and the relentless pursuit of status.For collectors of modern Australian, Contemporary, and Postmodern art, Kelly on Collins could be the catalyst for lively dinner party conversation.
Philippe LE MIERE (1975 - )'Kelly on Collins' 2023acrylic on paperEdition of 50Image Size: 26 x 34 cm Dimensions: 30 x 42 cm Signed: Signed, titled and editioned in marginComes with Letter of Provenance
(C) The Artist or Assignee
A word about the medium. This work is a pochoir (posh-waar) print. Emerging in late nineteenth-century Paris, pochoir printmaking sees an artist layer and hand-colour each component of their image. Unmechanised, this process gives each edition its own ‘aura’ while also requiring serious time and skill. Indeed, by the 1930s pochoirs had all but died under the rise of more efficient, mechanised printing techniques. It was master printmaker Jeffrey Makin who first linked Le Mieres experimental process with the forgotten early twentieth-century practice. For Le Miere, working by hand represents a critical counterpoint to his subject matter. Where mainstream cinema is technologically immaculate, Le Mieres work is fluid, textural and deliciously idiosyncratic. Layers of paint disturb a perfect surface, registering like man-made pixels. Once employed by Matisse and Picasso and revived by Le Miere, the pochoir unites art and the artisanal to give each work the feel of an original painting.
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