MLA Gallery

This is the latest work, from this Thai superstar. His work is getting harder and harder for this gallery to offer, as all of his recent shows have sold out. MLA Gallery is offering his work for less than all of his other galleries. We have very competitive pricing. Virut has pioneered an astonishing technique, employing a mixture of collage and oil paint, on canvas. The result is stunning, and this is pop art at it’s finest. His shows have been selling out, and his work is scarce, and hard to find. We just acquired one new work, as that is all that is currently available, and the gallery will not have this painting for long! Virut now has galleries in Palm Springs, Las Vegas, Amsterdam, Berlin, Bahrain, Queenstown, Los Angeles, and elsewhere. Thai artist Virut Panchabuse is known for his bold and expressive pop-art portraits entirely made of collage art. After his first extraordinary success through awards and solo exhibitions in Asia, the artist had his first European exhibition in Amsterdam in 2017, directly followed by one in Bahrain in 2018, selling out in both cities. His artworks are among others in possession of prestigious worldwide collections such as that of Italian fashion giant Luciano Benetton or Chinese top-model Liu Dan. By meticulously assembling thousands of tiny old magazine patches (mostly taken from fashion and erotic magazines to achieve the right skin colors and textures), the artist creates man-sized, almost hyperrealistic portraits full of expression, vividness and light effects. He thereby celebrates character and emotions of his subjects regardless of their gender, age and ethnicity.
Victor Huerta Batista is both a technical master, and a conceptual genius. A rare combination of qualities found in contemporary artists. In addition to that, he is a brilliant surrealist, a very difficult genre. These are new works inspired by some of the masterworks he created nearly 20 years ago, that immediately sold, at that time. These are more fully realized, with absolutely stunning detail. And they are larger, at 40 x 30″, or 100 x 75cm. Acrylic on canvas. These new works will not last long. Permanent collections: University of Arizona Museum of Art, Tucson, Arizona Tucson Museum of Art, Tucson, Arizona Estremadura Museum of Art, Estremadura, Spain Extracted from an article in Tucson Weekly, on August 23, 2007, written by Margaret Regan: In “Caerse de Habana” (The Fall of Havana), 2002, three old men are struggling to hold up a figure above their bald heads. They’re decrepit caryatids long past their prime, but then so is the strongman they’re trying to support. He’s a fake, his body made of wood, pegged together at the joints, and he’s collapsing. But Huerta’s vision is too wild, too erotic–and too much fun–to be reined in by a single interpretation tied to contemporary politics. Elephant-headed old folks dance on a gargantuan pink birthday cake in “Feliz Cumpleaños” (Happy Birthday), 2003, just beyond a giant snake slithering in the hay around it. Above, the heads of four angry gods blow the small brushfire atop the cake into a conflagration. In other works, a tiny family sits on the precipice of a stove, just past a pot of boiling ship. A sexy woman with a cat’s head writhes all naked on the shoulders of a man with a dog’s head. Workmen on scaffolding lazily touch up the paint job on the face of a giant man. Huerta practices what the Cubans call “lo real maravilloso” (the marvelous real), a counterpart to the magical realism in Latin-American literature. He counterbalances the realistic and the fantastic, placing recognizable figures, landscapes and buildings in impossible settings.
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