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10 x 10 in ($40)
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White ($80)
The painting is a parody of Da Vinci's iconic Last Supper, but instead of the twelve disciples sitting around the table with Jesus, a group of robots are gathered in their place. The scene is set in a futuristic, post-human world where machines have taken over the role of humans. In the center of the painting, a humanoid robot with a glowing blue orb for a head sits in the place of Jesus. The robot's arms are outstretched, as if to bless or welcome the other robots gathered around the table. Each of the other robots is unique, with their own distinct features and personalities. Some are sleek and modern, while others are more industrial and utilitarian. The background of the painting is a dark and foreboding dystopian cityscape, suggesting that humanity has been replaced by machines, and the world is now a cold and lifeless place. The lighting is muted, with the only source of illumination coming from the robots themselves, creating an eerie and unsettling atmosphere. Despite the absence of human beings, the painting is full of rich symbolism and meaning. The Last Supper was a powerful symbol of fellowship and brotherhood, and this parody painting takes that idea and turns it on its head. Instead of humans coming together in communion, it is the machines that are gathering, raising questions about the role of technology in our lives and the future of humanity. Overall, the painting is a haunting and provocative commentary on our relationship with technology and the potential consequences of our ever-increasing reliance on machines.
Print:Giclee on Fine Art Paper
Size:10 W x 10 H x 0.1 D in
Size with Frame:15.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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While Mark M. Whelan's art is primarily portraits and figurative pictures. However, his aim is not to represent a beautiful image of a person or an individual in a futuristic context; rather, it’s an ongoing exploration of the process of how art is created concerning its structure, composition, colour, and technique. Like many figurative painters of his generation, it’s impossible for Whelan to avoid the looming shadows of Francisco Goya, Francis Bacon, Hieronymus Bosch and Lucian Freud, all of which have dominated the figurative world, their paintings both evocative, emotional and full of existential angst and anticipation of an uncertain future. However, Whelan is finding his futuristic path into the light, away from these titans of the art world, his work constantly seeking to go beyond the discipline of representational art and the more gestural expressionism that we are familiar with in the figurative paintings of Bacon.
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