From Flesh to Thunder

Lorna Grear: Solo exhibition at Flinders St Gallery, 61 Flinders St, Surryhills,

All welcome: Opening Saturday 19 September 11.00 -6.00 pm- select a time here- https://www.eventbrite.com.au/e/afternoon-drinks-celebrating-the-opening-lorna-grears-exhibition-tickets-120938541433

Lorna will be at the gallery Saturday 19 September, 26 September, 3 October

For more info or enquiries about work please email Jason info@flindersstgallery.com

Wild Card, 90 cm x 120 cm, acrylic on board, framed

http://www.flindersstreetgallery.com/album/130a5s

Finalist- Portia Geach Memorial Award 2020- 14 August – 20 September

Portia Geach Memorial Award finalists revealed Perpetual announces 2020 shortlist for Australia’s most recognised portrait prize for women A list of 61 works by 59 artists has been announced today for the country’s most distinguished portrait prize for female artists, the Portia Geach Memorial Award. The $30,000 annual prize is administered by the Award Trustee, Perpetual. Established in 1961 by Florence Kate Geach, in memory of her sister, artist Portia Geach, the Portia Geach Memorial Award recognises an Australian female artist for the best portrait painted from life of a man or woman distinguished in art, letters or the sciences. Born in 1873 in Melbourne, Portia Geach studied with John Singer Sargent and Lawrence Alma-Tadema in London and was also a lifelong activist for women’s rights. She established the Housewives Progressive Association of New South Wales, The Housewives Magazine in 1933 and the Progressive Journal two years later to promote issues such as equal pay for women and the right to hold public office. The judging panel for this year’s award comprised Ms Anita Belgiorno-Nettis, Trustee of Art Gallery of New South Wales, Ms Natalie Wilson, Curator of Australian and Pacific Art at The Art Gallery of New South Wales and Ms Jane Watters, Director S.H Ervin Gallery. Some of the well-known sitters for this year’s award include radio presenter Phillip Adams; actor Claudia Karvin; author and playwright Louis Nowra; indigenous dancers Ella Havelka and Tayvonne Cora; TV presenter Richard Morecroft; dancer Anthea Pilko; the late Jack Mundey; businessman Luca Belgiorno-Nettis; Francophile Professor Ross Steele AM and concert pianist Simon Tedeschi.

FINALISTS J

ANE ALIENDI Self Portrait – The Instagramer after The Sock Knitter

SALLY ANDERSON Claude Swimming (Claudia Karvin, actress, producer and writer)

ANN ARORA The Mirror (self / daughter,artist / student)

MICHELLE BELGIORNO A Contemplative Moment (Guido Belgiorno-Nettis, businessman and arts philanthropist (currently Chair of the ACO and ex Trustee of AGNSW)

KATE BEYNON The Robe Kate Beynon (self portrait)

RENEE BRODERS A place to call my own (Thelma Plum, Australian musician)

FILIPPA BUTTITTA Radiotherapy during Covid-19 (self portrait)

ANN CAPE Sophie and Scout (Sophie Cape, artist)

YVETTE COPPERSMITH June 2020, Chanel Earrings (self portrait)

ANTHEA da SILVA Veronica (Veronica Collins, artist)

JANINE DELLO Too Much I (self portrait)

JANINE DELLO Too Much II (self portrait)

KATHERINE EDNEY Gary Grealy in Black & White (Gary Grealy, photographer)

NICOLETTE EISDELL Juliet at Home (Juliet Holmes à Court, artist)

MARINA FINLAY Professor Ross Steele AM (Professor of French language and culture)

LORNA GREAR Lockdown in the bath (self portrait)

JANE GUTHLEBEN (Misha, the pole dancer Michelle Cawthorn, artist)

HANNAH HALL Lotus Lady (self portrait)

ILDIKO HAMMOND Self-Portrait IV – The Recluse

JACQUELINE HENNESSY The Offering(self portrait)

SOPHIA HEWSON Untitled (self portrait)

MICHELLE HISCOCK The Flâneur (Louis Nowra, author)

JANNE KEARNEY Power flower (Tegan Kearney, manager with Country Fire Authority Victoria)

NICOLE KELLY Night studio (self portrait)

KIM LEUTWYLER Dee with pink, green and blue (Dee Smart, artist and actor)

KATHRIN LONGHURST Muddy Waters (Maia Longhurst, student)

ALISON MACKAY The Beloved (Richard Morecroft, TV Presenter and arts interviewer)

MARIE MANSFIELD Waiting (Ashlee Bucholtz, artist and art educator)

MARIE MANSFIELD Charlie and Kate (Kate Smith, art collector / artist patron)

KAITA MASON Julia’s Studio (Julia Flanagan, artist)

ANNE McCAUGHEYJudy in Lockdown Land (Judy Hendricksen, dancer/ asssociate school Principal)

KERRY McINNIS Iso Yoga selfie (self portrait)

MATILDA MICHELL Self in an empty room (self portrait)

HEATHER MILLER Two Thirds (self portrait)

GRANKIE MORGAN Julia in Desire (Julia Wilson, comedian)

JUSTINE MULLER Jack Mundey (environmentalist and activist)

FIONA O’BYRNE Eleven Years (Remy Frazzetto, Year 6 Student)

SUSAN O’DOHERTY Myfanwy Gullifer in olive green coat (Myfanwy Gullifer, artist)

RENATA PARI-LEWIS Phillip (Phillip Adams, radio presenter, entrepreneur, art collector)

JOSEPHINE PEREIRA Self portrait

SHARON PINCUS JACOBSON Tony Taussig, Architect

VICTORIA REICHELT Interior (artist’s children)

JENNY RODGERSON Solitary Figure (self portrait)

JENNIFER ROSNELLl Nurse Jacqui (Jacqui Blundell, emergency nurse – COVID trained)

SALLY RYAN Alone Xeni Kusumitra, artist

LYNN SAVERY In your dreams (self portrait)

KIRTHANA SELVARAJ The green suit, a self portrait

THERESE SHANLEY In the jumper (self portrait)

WENDY SHARPE Self portrait – Walking home (self portrait)

LORIBELLE SPIROVSKI The Reader (Simon Tedeschi, concert pianist)

DEE SMART Leap of Faith (Ella Havelka, ballet dancer)

LIZ STUTE Untying the laces -Self Portrait TRISH TAIT The Conversation (Hugh Tait, pharmacist and musician)

JILL TALBOT The Keeper (Kirli Saunders, author and poet)

JESKA VALK Ghearra (Tayvonne Cora, dancer)

DEBORAH WALKER Georgia (as Agatha Christie in Blue Mountains, NSW, 1922) (Georgia Gibbs, writer)

NATASHA WALSH Doppelgänger (self portrait)

VICKI WHITE Zooming Jill (Jill Dunkerton, artist)

ZOE YOUNG The Scarf Knitter (Margaret Young, artists mother)

CAROLINE ZILINSKY Anthea may or may not (Anthea Pilko, contemporary dancer)

MICHELLE ZUCCOLO Becky, Fire Crew (Rebbecca Jonkers, crew member, Forest Fire Management and tertiary student)

The winner of the 2020 Portia Geach Memorial Award will be revealed on Thursday 13 August with an exhibition of all finalists open for viewing by the public from 14 August – 20 September at the S.H. Ervin Gallery, The Rocks. For more information on the award, visit http://www.shervingallery.com.au Media Enquiries: Jane Watters 02 9258 0133 / 0414 717 044

Graphics- Zeinab Alizadeh Fard, Ben rak, Naomi Bishop, Lorna Grear

GRAPHICS

Zeinab Alizadeh Fard

Lorna Grear, Ben Rak

Naomi Bishop

 

9 – 25 August 2019

 

Working primarily within the practices of painting and printmedia, each of these artists aim to create their own visual language through the use of different motifs, geometric elements, graphic designs and metaphysics to explore their own personal journeys and the mysterious nature of the unexplained, unexplored and otherworldly sensations. Their works also explore the blurring of genuine and performed gestures, the displacement of mark making and originality and employ an element of chance based processes through the movement of paint, print, light and shadow, pushing the boundaries of what can be achieved on a two dimensional surface.

 

Zeinab Alizadeh FardTHE MAP TO PERSONAL TRANSMUTATION” The three-year body of work represents the way of transformation and the exploration into the source. There is a sequence of tasks represented by each art piece and there are nine courses along the way that one needs to pass deliberately with a compass. All the nine art works are based on different and powerful tools of the Persian geometry and symbolic animals. She uses this as a guideline for change and transmutation.

Ben Rak Ben’s practice is an attempt to develop a conceptual, visual language, which metaphorically explores the identity politics of otherness and the act of ‘passing’ as somebody else. He positions mechanically and autographically generated elements in diametric opposition on the same image plane, defying the viewers expectation of what is reproduced and what is authentic, blurring the lines between genuine and performed gestures, and to what lengths the artist must go to displace the origin of the marks and successfully ‘pass’ himself as the original.

Lorna Grear Uses paintings and graphic designs to emphasise ideas of process, order and the painterly sensation. Paralands – her latest body of work – is a play on the idea of paradise and landscape, interested in the playscape of the imagination, these images also have a connection of the metaphysical, using a type of ‘mandala’ to represent the universe. This series is a celebration of animals (dogs) as a simple, uncomplicated motif immersed in patterns which could suggest truth, honesty and a spiritual sense of wellbeing. Many cultures have used the Dog as a form which symbolized guidance, protection, loyalty, fidelity, faithfulness, alertness and love. Animals teach us about unconventional communication, reminding us of the varied languages available to us for expression- psychic, body language, music, symbolic and visual.

Naomi Bishop The unexplained and unexplored are recurring themes in her work. She is interested in exploring darkness, silence, mysterious events and peripheral landscapes and otherworldly places. Is interested in the ways we are shaped by the natural environment and the ways in which natural and celestial phenomena are interpreted and developed into belief systems.

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The love Of The World

“The World of Love—image from my heart”, of which all subject and content are about dogs and cats.  It will be a part of Willoughby Spring Festival. The exhibition will run on from 14th to 24th of September 2019. Curated by Ginger;

Jingzhe Li

https://mp.weixin.qq.com/s/kkAt5g9xW94I03FIx-56KA

I showed these two works based on Macy- a Staffy Border Collie x dog.

Winter Macy Swirls, digital print on etching rag 78 cm x 90 cm

Purple Francesca, digital print on etching rag 78 cm x 90 cm

Tiergarten: Sheffer gallery.

SHEFFER GALLERY
38 LANDER ST DARLINGTON SYDNEY
Gallery open Wednesday – Saturday 11- 6pm

OPENING THURSDAY 2 MAY  6- 9PM / CLOSING EVENT SATURDAY 11 MAY 2- 6PM

HiskeWeijers

Tiergarten means ‘animal garden’, it is the name of a large park in Berlin.

In the 16thcentury the elector of Brandenburg put animals in the then fenced off forest for hunting. That soon changed as the park became an area for people and slowly statues were placed there ( some of animals). After WWII Tiergarten was used to store coal and grow food under British occupation.

Now it is back to being a place for wild animals and people. Nightingales have left London over the past decade to come to Tiergarten ( and other areas like this) as it offers a safe haven for them to breed. It is an enormous park with monumental statues scattered around and lots of scrub to  hide in.

The exhibition has animal garden as its theme. You will be surrounded by images of animals or inspired by them.

For Hiske, animals have been a popular theme in her art from a very early age in the Netherlands where she is from and grew up. Now she spends half her time between Europe ( based in Berlin) and Sydney.

Hiskeweijers.com

Nicole Eggers

Having been born in Germany and emigrating here to Australia with her parents in the 1970s, the theme of Tiergarten, German for ‘Animal Garden’ and also well known

as a huge park in Berlin and the home of that city’s zoological gardens, naturally appealed greatly to Nicole, whose work has, for a long time, been concerned with the

treatment and plight of animals, particularly that of native Australian animals.  An exhibition wholly centred around the theme of animals has allowed her to continue to explore this subject, this time in a deeply personal way, having the opportunity to relate aspects of her own life spent with dingoes.

For this new group show, Nicole has included pieces from a variety of mediums; etching, drawing, photographic installation and digital media. Nicole feels greatly privileged to have spent many years now living with dingoes and it is this experience which forms the backdrop of her work in Tiergarten. Recently she has adopted two rescue dingoes, Juno & Silke, both of whom have given her endless joy and served as the primary inspiration for this current body of work.

Nicole’s pieces, which are both lighthearted and playful in their turn, seek to counter the more often than not, negative portrayal popularised in the media, of this unique creature.  This irresponsible reportage she believes has led to one of our most iconic animals being largely misunderstood and demonised within the Australian psyche, her work instead offers a more balanced and positive view of this complex native animal within a personal and domestic context.

Lorna Grear

When I was invited to exhibit with Nicole and Hiske I was intrigued. I was in the middle of working on my ongoing series titled Paralands-. a series of work using the idea of hidden paradises found in unusual places -drawings are made from urban parklands,nature-­‐ strips and gardens that are then manipulated digitally and printed.

Macy our Staffy x Border Collie came to live with us last year and I thought it would give me a chance to include her form in my garden images for the show at Sheffer Gallery. The idea of Tiergarten and my usual body of work didn’t seem so far removed. My Macy in Tiergartenseries aims to re-create the idea of a hidden playspace- whether intellectually or real- into a patterned wonderland using dogs as the underpinning form. The series is a celebration of animals (dogs) as a simple, uncomplicated motif immersed in patterns which could suggest truth, honesty and a spiritual sense of well being.

Many cultures have used the Dog as a form which symbolized guidance, protection, loyalty, fidelity, faithfulness, alertness and love. The Greeks used the three headed Cerberus as the guardian of the dead. Or there is the Norse Garmr- the dog that stands at the gates of the underworld. Garmr will only howl if the end of the world is imminent.

In Tarot dogs symbolise communication, friendship and community, animals teach us, about unconventional communication. They remind us of the varied languages available to us for expression-  psychic, body language, music, symbolic and visual.

Lorna has held numerous solo exhibitions including at the infamous Tailor Room Gallery, Sydney in 1998 – 2003, at Peloton Gallery in 2005, 2009 and 2011; at MOP Projects in 2013 and at AIRspace Projects Inc in 2017 and 2018. Other galleries where her work has been shown include, Imperial Slacks, Herringbone, SNO, Phatspace, Zitlip, Sheffer, UTS Gallery and Firstdraft. Lorna’s work has been selected for the Portia Geach Memorial Prize, The Fisher’s Ghost Open Award, Mosman Art Prize and the Liverpool Art Prize. Most recently her work was shown at the MCA Artbar, curated by Anney Bounpraseth as digital projections in February 2018.

In her independent curatorial practice Lorna co-curated ‘Here is a Fresh Egg’, as part of a collective in Zitlip Gallery, 1994 and curated Homefront at Sheffer Gallery, Sydney in 2010 and The Baker’s Dozen at UTS Gallery, Sydney in 2012. Prior to this her time was spent in London, 1987-­‐1993,initiating community arts groups,including the Dolehouse, Peckham, London and ScarecrowTiggy-­‐an artist run co-­‐ operative in Camberwell, London. She is a graduate of both Sydney College  of the  Arts (BVA, Honours, and MVA), The National Art School, Sydney (Dip F A) and Art & Design, UNSW  (Grad Cert Design2014).

Lorna is currently the A/Head teacher of the Ceramic Design Studio, Gymea, TAFENSW and visual art teacher at Campbelltown, TAFENSW

 

All works are printed on archival etching rag paper. Limited editions of 10 only, individually signed. 90 cm x 76 cm, unframed or framed.

Macy in Tiergarten Series 2019

Paddington Art Award 2018

Dusty Pink Tree Limbs, acrylic on canvas, 80 x 95 cm, framed. Selected as a finalist work for the Paddington Art Prize 2018.

Lorna Grear Dusty Pink Tree Limbs

‘Dusty Pink Tree Limbs’ reflects my series of work titled Paralands. Paralands is an imaginary word, stemming from the amalgamation of paradise and landscape. This painting in particular was originally inspired from a secret garden found in a housing estate. My paintings aim to reclaim the hand-­‐made, turning the digital into a personal gesture.

 

Art Prints

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Scribble and Tantrums, giclee print, by Darkstar Printers. Limited edition of 10. Signed and dated. 60 x 60 cm

SOLD OUT

 

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Big Foot Montsers, giclee print, by Darkstar Printers. Limited edition of 10. Signed and dated. 60 x 60 cm

6 prints left.  unframed /framed

 

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Mittamerge, giclee print, by Darkstar Printers. Limited edition of 10. Signed and dated. 70 x 49 cm

8 prints left. unframed / framed

Print5_A1_ER

Moonjoybei, giclee print, by Darkstar Printers. Limited edition of 10. Signed and dated. 70 x 49 cm

prints left. unframed / framed

Most prints printed to order, collect or send by mail

 

ARTBAR at MCA

These images were displayed as ‘Digital Light Gardens’ at ArtBar, Museum of Contemporary Art, February 2018. Curated by Anney Bounpraseuth.

Soul Drummer (and)Lorna Grear, Paralands, MCA ARTBAR – Curated by Anney Bounpraseuth Museum of Contemporary Art Australia, February 2018, photograph: Peter Morgan

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Soul Drummer (and)Lorna Grear, Paralands, MCA ARTBAR – Curated by Anney Bounpraseuth Museum of Contemporary Art Australia, February 2018, photograph: Peter Morgan
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Soul Drummer (and)Lorna Grear, Paralands, MCA ARTBAR – Curated by Anney Bounpraseuth Museum of Contemporary Art Australia, February 2018, photograph: Peter Morgan
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Soul Drummer (and)Lorna Grear, Paralands, MCA ARTBAR – Curated by Anney Bounpraseuth Museum of Contemporary Art Australia, February 2018, photograph: Peter Morgan
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Lorna Grear, Paralands, MCA ARTBAR – Curated by Anney Bounpraseuth Museum of Contemporary Art Australia, February 2018, photograph: Peter Morgan

SUMMER

summer-4-lorna-grear-30-x-40-cm-2018.jpgEXHIBITION THIS FRIDAY 6 APRIL. All welcome. Airspace Projects Inc. 6 pm – 8pm, 10 Junction St, Marrickville, 2204 Sydney

SUMMER
‘No one can help me now’. Mary sat by the rock, swept up in the light and earth and wind; she carried on, staring at time moving, she tried not to think about space, spacelessness and timelessness. The gap wherein she sat, not doing, not washing, not eating, not cleaning, not working, not scrolling or talking, nor being busy.

Rustle, a thin line, a curved shape, the building of an imaginary moment, not real, working in order not to work; beauty, structure, scaffold, light, colour.

These paintings were made in Summer 2018 in a place a long distance from the city. They are regarded as preliminary works, experimental, and act as sketches (like photographs) for other ideas. They’ve not been shown before.

Lorna Grear

All works 30 cm x 42 cm, acrylic on canvas or board. 2018

Summer 1 lorna Grear 30 x 40 cm, 2018

Summer 3 Lorna Grear 30 x 40 cm, 2018

WEAVE

Opening Night: Friday 7 July 6-8pm

Artist Talks: Saturday 22 July 3-5pm.

WEAVE represents Grear’s new body of work. She uses the space of landscape as a starting point for abstractions. The finished works inevitably evolve into images beyond landscape, signifying personal, emotional or social events.

Grear states, ‘Landscape offers me a rhythmic structure where I can play within the imaginative constructs of painting at the same time offering a connection with nature. Colour, form, line, texture and pattern give me so many possibilities to create different compositions. The narrative is not obvious; I like to think of the paintings as thoughts or feelings.

Uncanny, random or specific references do enter the works. After the musician Prince died, I made many purple works with a haphazard rhythm. ‘Big Foot Monster’s is one of these. When Donald Trump was elected I made a work entitled Trump’s Bloodshed- with a grand old oak splitting the composition in two. The large painting; ‘Peppermint Tree’ uses this structure. Sometimes the trigger is public and at other times the impulse to make the work is unknown, it could be based in human identity.

Recently I’ve been listening to John Coltrane. In his music there’s an expression of feeling and meaning that implies rather than tells. The odd note there, a beat here, the fluid rhythm staggered by a loud vibration…

I’m always searching for that pivotal moment in painting where the structure balances the rhythm and where the feeling and the composition weave together’.  Lorna Grear June 2017

Lorna Grear is a Sydney based artist who uses paintings, collages and sculptural relief works to emphasise ideas of process, order and the painterly sensation. Recently her abstract work involves convoluted patterns and structures which signify contemporary virtual and real environments or states of the mind. Most of the time the works respond to current affairs, personal travel or emotional experiences which influence or inspire the need for Lorna to respond with a visual work.

This latest body of work exist as digital prints, paintings and drawings. The digital works start as hand drawings of her surroundings then manipulated digitally; sometimes they are seen as wallpapers- other times they hang individually as large paper works.

The paintings stem from the hand-made drawings and the digital prints working as sketches for the paintings. It’s a master painting relationship.

Lorna has held numerous solo exhibitions including at the infamous Tailor Room Gallery, Sydney in 1998 – 2003 under the director, Lee Frost, Peloton Gallery in 2005, 2009, 2011 and MOP Projects in 2013. Her recent solo show is held at Airspace Projects, Marrickville, July 2017. Her work has been shown at; Imperial Slacks, Herringbone, SNO, Phatspace, Zitlip, Sheffer Gallery, Campbelltown Arts Centre, UTS Gallery, NAS and Firstdraft. Lorna’s work has been selected as a finalist for the Portia Geach Memorial Prize, The Fisher’s Ghost Open Award, Mosman Art Prize and the Liverpool Art Prize.

In her independent curatorial practice Lorna co- curated Here is a Fresh Egg, as part of a collective in Zitlip Gallery, 1994 and curated Homefront at Sheffer Gallery, Sydney in 2010 and The Baker’s Dozen at UTS Gallery, Sydney in 2012. Prior to this her time was spent in London, 1987- 1993, initiating community arts groups within the London squat scene, including Scarecrow Tiggy- an artist run co-operative in Camberwell, London with fellow artists Belle Tidswell and Jane Waudby. She is a graduate of three art universities in Sydney; Sydney College of the Arts (BVA, 1st class Honours, and MVA), The National Art School, Sydney ( Dip F A) and Art & Design, UNSW ( Post Grad Cert Design 2014). She currently teaches painting and art history at TAFE NSW, Campbelltown College.

Gallery One, Fangled: Sally Clarke, Brenda Factor, Sean O’Connell and Laura Woodward

Gallery Two, Weave; Lorna Grear

The Cranny, Kiss Them While They’re Sleeping; Marion Abboud

Deep Space, FavourEconomy Volumes 1 & 2; Claire Field and Bronwyn Treacy

Exhibition runs from Friday 7 – Saturday 22 July

http://airspaceprojects.com

10 Junction Street Marrickville NSW 2204

+61 438 020 661 and +61 411 370 361

Open Thursday to Friday 11.00 – 6.00 and Saturday 11.00 – 5.00 the first three weeks of each month. Check the Airspace blog for special events, exhibition previews and any scheduling changes.

Catalogue to be published soon.

Lorna Grear Purple Parade acrylic on board, 21 x 15 cm, framed, 2017

Purple Parade, acrylic on board, 21 x 15 cm, framed. SOLD

Drawing 2016

imageScribbled Tantrum

Hand drawn ink on paper , Digitally manipulated.

Limited edition prints available. Printed by the wonderful Darkstar digital printers. Etching Rag paper 100%. 50 cm x 50 cm, individually signed, print run of 10 only. SOLD OUT

Send enquiries to lornagrear@hotmail.com

 

 

SNAP studio works

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The Beginiing of the Begining, oil on canvas, 50 x 40 cm.

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Not Now Mrs Jones, oil and texta on board, 15 x 20 cm

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Auerbach Not, oil and acrylic on canvas, 40 x 50 cm

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Head on a Plate, oil on canvas, 30 x 30 cm

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Belinda, oil on canvas, 30 x 30 cm

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Square, oil on board, 15 x 15 cm

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The Joker, oil on board, 15 x 20 cm