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Mickey Shack - IV
By Jeff GillettePart of Dismaland Calais  RUN # 02019e
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Mickey Shack - IV
By Jeff GillettePart of Dismaland Calais
RUN #02019e
RUN INFORMATION
SHIPPING INFO
Original Artwork: 1
SIZE7.5 x 11 Inches (11.5 x 15 with Matte)
TYPETempera Paint and Collage on Matted Illustration Board
This RUN is signed by Jeff Gillette and includes an Original Artwork Letter of Provenance 1xRUN.
EST SHIPPING4-6 weeks
AVAILABILITYShips worldwide
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RUN INFORMATION
SHIPPING INFO
Original Artwork: 1
SIZE7.5 x 11 Inches (11.5 x 15 with Matte)
TYPETempera Paint and Collage on Matted Illustration Board
This RUN is signed by Jeff Gillette and includes an Original Artwork Letter of Provenance 1xRUN.
EST SHIPPING4-6 weeks
AVAILABILITYShips worldwide
RETURNSCan you return items?
We'll update you throughout your purchased art's journey from 1xRun to when it leaves our hands and ventures to you.
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.

ABOUT THIS ARTISTt:
Jeff Gillette's paintings examine the aesthetic structures and visual patterns of human settlement, specifically that of shantytown style slums in India and South America. To the artist, there is something ineffable behind the obviously chaotic and desperate appearance of these places — a universality of human spirit and a strange beauty which comes out of the necessity and raw honesty of the will to survive.

Despite the seriousness of his observations, Gillette sees ironic and amusing juxtapositions that occur when Disney, corporate logos, and pop icons from consumer culture shows up as building blocks of shanty settlement construction. His works reflect these ironies as well as add a playful dimension to art historical relationships.

Find out more @JeffreyGilette666 on Instagram.
ABOUT THE ARTIST

Jeff Gillette's paintings examine the aesthetic structures and visual patterns of human settlement, specifically that of shantytown style slums in India and South America. To the artist, there is something ineffable behind the obviously chaotic and desperate appearance of these places — a universality of human spirit and a strange beauty which comes out of the necessity and raw honesty of the will to survive.

Despite the seriousness of his observations, Gillette sees ironic and amusing juxtapositions that occur when Disney, corporate logos, and pop icons from consumer culture shows up as building blocks of shanty settlement construction. His works reflect these ironies as well as add a playful dimension to art historical relationships.
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