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Coca-Cola - Cometh the golden hour [Limited edition artwork]
View In My Room


Coca-Cola - Cometh the golden hour [Limited edition artwork] Artwork

Jakob Zaaiman

United Kingdom

New Media, Photo on Paper

Size: 40.6 W x 59.1 H x 0 D in

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About The Artwork

Buy a limited edition copy from, and hang above your bed. Advertising poster targeting both lovers of Coke, and of the unsettling. There is a hint of desolation in there somewhere as well, I think. Nostalgia for a disturbing time which never was. [Part of a limited edition artwork sequence, 1 of only 8] [Notes] My works are portals to strange and disturbing worlds which cannot be reached any other way. [For a more detailed explanation please check my writings online and videos on Youtube.] [All artworks are printed on archive quality oyster paper and then professionally framed, with reinforced backing and museum standard acrylic/Perspex. The framing of the larger works alone costs around $2k. I personally supervise the production of each one.]

Details & Dimensions

New Media:Photo on Paper

Original:One-of-a-kind Artwork

Size:40.6 W x 59.1 H x 0 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Book: Magazine interviews: Born 1955 near Etersheim, North Holland. Lives in London and New York. Has also lived in Eastern Europe. Works mainly with photographs, and is interested only in the troubling and disconcerting aspects of life which can be discovered within the ordinary. Each of his artworks is designed to house its own impenetrable narrative; sometimes self-contained; sometimes reaching out to realms beyond itself. ‘Art is a special way to explore strange and disturbing features of life from within a reflective, imaginative, presentational context. Art is more interesting and important than decorative, ornamental craft, which is what most people think proper art is all about. Francis Bacon’s Figure with Meat (1954), for example, is authentic art, whereas da Vinci’s Mona Lisa is merely decorative craft; both share the same presentational medium, yet are worlds apart in their intention. Da Vinci wants you to glory in the realisation and application of his unquestionably sublime technique, whereas Bacon wants you to enter into the mind-distorting world he has discovered. Da Vinci is really only a supreme showman, whereas Bacon is offering you a ticket to god only knows where. I would rather take the ticket.’ Zaaiman does not cite any direct influences, although he feels a great affinity for the sort of mysterious and meaningless photographs often found in obscure textbooks, government publications, religious tracts, strange specialist magazines, and the like.

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