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Run #00690a

So Hood - Standard Edition

By: Bask

$250.00
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Edition Size 50
1 Available At This Price
TYPE:Archival Pigment Print on 310gsm on Bright White Fine Art Paper
SIZE:16 x 24 Inches
RELEASE DATE:   Feb 16 2014
IN THIS COLLECTION
Electric Mayhem
4 Artworks
About this Art

The framing option for this RUN includes a 1 Inch Black Wood Frame with UV-Glass, foam core backing and ready to hang hardware.


"This piece was created very late in 2013 and it has many layers. I first processed down panels to get the tiled effect I desired. Then I started to lay down layer of texture which eventually ended with the portrait seen. It was originally made for an event I did at the Saint Petersburg Museum of Art. The show paired 5 artists with 5 locally celebrated chefs to collaborate. The chef was to make a dish inspired by the work. The piece was also made in as part of an on going series of portrait works painted mostly in halftones.

I like working with weather old wood for the unique texture it provides. With this piece I didn't want to use a single piece of wood but several to achieve a wood tile look much like the facade of an abandoned building. People should buy this piece because it hopefully speaks to them in a similar way it spoke to me when I made it. People should also buy the print because prints from 1xRUN are simply put, fucking awesome!" - Bask

This RUN is signed, numbered and comes with a Certificate of Authenticity from Bask and 1xRUN.

Bask
Florida, USA
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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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