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Run #00887ae

Face Invader - Four Eyes

$150.00
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Edition Size 20
1 Available
TYPE:Hand Painted Multiples on Offset Wood Panel
SIZE:12 x 12 Inches
RELEASE DATE:   Aug 22 2014
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About this Art

This piece of original artwork comes ready to hang. Also included with this purchase is a signed & numbered catalog and event poster.


View All Original Artwork From "Location, Location, Location" Here
View All Of Bask's Latest Hand-Painted Multiple Series "Face Invaders" Here


“I wanted to do something special for the run that was going to coincide with the show. So the idea came to mind to not just offer a hand embellished print, but actually make a series of pieces in sets that were all hand painted. No stencils or silkscreens, I wanted to offer actually painted pieces that are affordable to anyone who wants one. But as excited as I was about this idea, I then had to figure out how to make this happen within a reasonable time frame. Not to mention, coming up with 10 images that I would be able to duplicate almost identically 20 times over. Then the idea of bring back some of the faces that have appeared in past works. Characters that Detroit inspired me to create.

I have to add that this has been one of the most labor intensive projects I've taken on. There are over 500 hours in these between myself and my assistant. Each panel was painstaking worked over.” - BASK

This RUN comes signed & numbered by BASK with an Original Artwork Letter of Provenance from Inner State Gallery.

Bask
Florida, USA
Bask is the moniker of one, Ales Bask Hostomsky, who along with his parents emigrated from Czechoslovakia to Florida and began to soak up America’s popular iconic imagery along with the sun.

Bask quickly began to notice similarities between the communistic iconic propaganda from his youth and the consumer advertising of his teens. He soon discovered that they were simply, two sides of the same coin. Each vying for our short-lived attention spans, all the while selling us (or telling us?) anything and everything from Marxism to McDonalds. Seeking conspiracies -and finding them embedded in the popular iconography of the mass media, Bask began painting bold, media critical broadsides to assuage his fear of being manipulated. A fear cultivated in a repressive regime, had now returned, but to the most unlikely and safest of places- The American living room.

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