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The last Subject Standing Painting

Teo Spiller


Painting, Paper on Paper

Size: 18.5 W x 13 H x 0.4 D in

This artwork is not for sale.
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About The Artwork

This paper is painted on both sides and both images are somehow related one with another. A human head, almost without a face, blurred with the background, crossed with some straight lines is an expression of who we became: users, consumers, voters, human resources; everything but humans. As Hito Steyerl pointed out: "Since subjectivity is colonized by capitalism, we might as well identify with objects." The more we think and behave like machines, the cheaper is to control us. In art, painting is unwanted, gesture even much more. It's too subjective, too wild, too much out of control. But this artwork do not end with the ontology of the image. Paper is painted from both sides and it isn't meant to hang on the wall. It is meant to be touched, to be in your hands. So I sent this and other pieces from this collection to curators around the world. Art is about the experience. While people send their work to curators in hope to accelerate their careers, I am interested in their experience, even if I will never get feedback about it. You can find more about it on my website or on my Youtube channel @TeoSpiller.

Details & Dimensions

Painting:Paper on Paper

Original:One-of-a-kind Artwork

Size:18.5 W x 13 H x 0.4 D in

Shipping & Returns

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

I use machines to create art, wondering if machines will one day understand my art. Computers, mobile phones and robots are strongly getting into our minds. We are more and more behaving like machines, while Intelligent devices are more and more behaving like humans. Once there might be no difference between the machine and the human at all. I examine different forms our technology based society takes, and the motives that lie behind it. I use the copy-paste culture, post-production and modularity as the common denominators of the digitized worlds. Altering them is a way of questioning the attitudes, fears, unwritten rules, opportunities and dangers which have formed that environment and our behavior within it. Aesthetics and ontology of my work are strongly related to my working process. I take icons, symbols and other entities from the mediated reality and combine them in algorhytmic ways. I strive to convey that sense of algorhytmic simplicity by capturing its algorhytmic language.

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