Jone Hopper - Petit buste au chapeau





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Jone Hopper signs the unique 01/01 edition of Petit buste au chapeau, a hand-signed Giclée on canvas mounted on a frame, 50 x 40 cm, France origin, original edition produced after 2020, with a hand-signed certificate of authenticity.
Description from the seller
- Unique edition 01/01, hand-signed on the back of the artwork
- Giclée on canvas mounted on a stretcher and hand-enhanced in the artist's studio
- Certificate of authenticity hand-signed
Born in 1977, Jone Hopper is a French artist.
In the late 1980s, he cut his teeth on the streets through an emerging movement of the time: graffiti. He tags his name on walls and trains. Known for his characters and his aerosol signatures, he founded the collective TBS (The Brutal Style) with Skepa and a few other committed graffiti artists. We know little about him because the artist remains faithful to the spirit of graffiti and wishes to stay anonymous, believing that the work should be foregrounded rather than the person. He is virtually absent from social networks, absent from openings, a faceless artist who remains a true mystery except to a few gallery owners in confidence. He compares his painting to a Hip Hop track, drawing from Basquiat, Keith Haring, Picasso, Matisse, Andy Warhol or even Bacon, pulling from all painting currents—from Modern to Contemporary, including Classic—acting like a sampler... sampling, cutting, assembling and thus creating new images.
- Unique edition 01/01, hand-signed on the back of the artwork
- Giclée on canvas mounted on a stretcher and hand-enhanced in the artist's studio
- Certificate of authenticity hand-signed
Born in 1977, Jone Hopper is a French artist.
In the late 1980s, he cut his teeth on the streets through an emerging movement of the time: graffiti. He tags his name on walls and trains. Known for his characters and his aerosol signatures, he founded the collective TBS (The Brutal Style) with Skepa and a few other committed graffiti artists. We know little about him because the artist remains faithful to the spirit of graffiti and wishes to stay anonymous, believing that the work should be foregrounded rather than the person. He is virtually absent from social networks, absent from openings, a faceless artist who remains a true mystery except to a few gallery owners in confidence. He compares his painting to a Hip Hop track, drawing from Basquiat, Keith Haring, Picasso, Matisse, Andy Warhol or even Bacon, pulling from all painting currents—from Modern to Contemporary, including Classic—acting like a sampler... sampling, cutting, assembling and thus creating new images.

