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Canvas
14 x 21 in ($150)
White Canvas
White ($150)
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A colorised pen and ink illustration depicting fictional characters representing a global narrative of the consequences of a consumer oriented society which leads to its own demise. La Hambre of fools is a storytelling illustration where you don't know whether its the man with his ragged clothes or the creature-like bird which is offering what presumably could be food. A damaged landscape with rubble, trash, bricks and mortar has flowers blossoming, creatures roaming freely and the grass turning green. Symbolic of the Gaia theory where man is the cancer which will destroy itself whilst nature will ultimately find its way to blossom. Our structures will become ruins, our societies will turn to rags, but nature will find its richness in the end whether its with the species that now exist or new ones which will emerge. The illustration works on the contrasts between shades and light, where the colour is representative but does not aim to provide glamour as children's illustrations are accustomed to. It leads the viewer to tell his own story, whether this meets with that of the artists or not. Wandering is okay, as with the illustration, there are pathways, bridges and routes to take and every aspect of the illustration allows for the individual to cast his own thoughts beyond that which the artist provides himself.
2023
Giclee on Canvas
14 W x 21 H x 1.25 D in
15.75 W x 22.75 H x 1.25 D in
White
White Canvas
Yes
Ships in a Box
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Gibraltar
Born in Gibraltar, 1969, during the year of the frontier closure when Spain sealed its borders to Gibraltarians, Stephen Ignacio spent his formative years in a town of 30,000 people within a 6km² area. This period, marked by isolation, steered him toward the arts as a means of expression and liberation, even if he didn't fully grasp its significance at the time. At 16, Stephen began to gain public attention through a mural project, transforming his neighborhood into a minor tourist attraction with his artwork adorning the walls at Devils Gap Steps. Sadly, these murals were later destroyed in the mid-90s. In the late 80s and early 90s, Stephen pursued fine arts at Watford College and later Gwent College (which later became the University of Wales). Here, he delved into public and installation art, creating controversial pieces that nearly led to his expulsion. His final project, "Mother England You Have Fucked Us," a socio-political installation/live performance, sparked debate over his tenure as a student due to its provocative message about self-determination. A concept which Gibraltar itself had as yet not embraced. His views on self determination later getting him into problems over his views on the independence for Gibraltar away from British colonialism which he has supported ever since. During the early 90s, Stephen's work in Gibraltar introduced the community to public art and installations, shifting the local art scene away from traditional forms like painting and sculpture. His time at Gwent's fine art course exposed him to the burgeoning digital/technology art scene, where he experimented with sound, video, and digital media, influenced by the Cybernetics movement. This period also marked his introduction to digital media tools like Photoshop. After completing his course in 1992, Stephen struggled to find work in a recession-hit UK, where his Gibraltarian background hindered his prospects. Eventually, he returned to Gibraltar, where he found employment in advertising and media, later transitioning to graphic design and online media. In 1996, Stephen founded , a groundbreaking 24-hour online news service for Gibraltar, revolutionizing the local media landscape and paving the way for future online media developments. Despite facing resistance from politicians and authorities, his work with iberianews earned international recognition and influenced Gibraltar's online media regulations.
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