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“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)
(Not for sale)
And then a descendant presents itself. It will be the radiant center of what is now called the family. With traits of both parents that speaks.
The first Tower in three-point perspective, seats as far as the eye can see. Comprehensive as you would expect from such a mythical construction. See also the successors Tower of Babel II, III.
Or the works in which I have displayed the interior such as Babel interior and Babel interior II and Babel II, but also Arena.
After painting a large Meal of Friends twice, the most mythical dinner almost automatically arises: the last supper. And then you cannot ignore Leonardo da Vinci’s version, so I used that as a base for the composition.
Judas has done what was meant to be, and here’s the thing, starting with the sacred chair, and thanks to the halo glow, the chairs cast their dramatic shadows forward. I gratefully exploit that glow in The last supper II, where it helps the viewer to identify the different characters.