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STOP ME / BUY ONE (DIPTYCH) Painting

Dangerous Minds Artists

United Kingdom

Painting, Acrylic on Wood

Size: 89.8 W x 31.9 H x 3.3 D in

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185 Views
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About The Artwork

This diptych utilises the reversed ice-cream van marketing appeal...' Stop Me and Buy One', as its intellectual genesis. The AK47, the world’s most instantly recognisable weapon, is both the chosen weapon of the most courageous freedom fighters and at the same time the world’s most despotic tyrants. The background colours and fairy light illumination of the base panels are derived from the naive graphic style of Afghan weapons bazaars, including the stylised shimmering lacquer runs. The weapon forms are executed in screen print and metal leaf with outline work in black acrylic marker. The applied text directly observes the irony of the arms trade... simultaneously appealing to purchase...Buy One; whilst at the same time either issuing a challenge or calling for an end to an evil trade... Stop Me!

Details & Dimensions

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:89.8 W x 31.9 H x 3.3 D in

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

The DANGEROUS MINDS ARTISTS Studio was founded by Michael Lake-McMillan and Alan Stuart. The artists’ distinctive work constantly refers and returns to the touchstones of light, beauty in decay, abandonment and antiquated typography. Dangerous Minds practice is driven by duality. The pairs’ intuitive subliminal dialogue centres on point and counterpoint and the production of works that are, fundamentally, aesthetically appealing and which, on further inspection, inspire curiosity and cause a ripple of intellectual stimulation. Subject matter is considered in depth, deconstructed then reformulated with an essential duality at its core, often incorporating ambiguous or cryptic text elements relating to a parallel narrative. Key to their oeuvre is the juxtaposition of the immediately apparent and that which only becomes visible through physical change – either in the position of the viewer or in the lighting of the work, whether specifically engineered or occurring naturally with the transition of day into night.

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