Hyangmok Baik (1990) - Third wheel





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Hyangmok Baik 的 Third wheel(2024)為手簽是 Giclée 印刷,印於 Hahnemuhle Photorag 308 g/m²,尺寸 75 × 50 cm,限量版 2/22,原產自韓國,現代風格,品相優良。
賣家描述
Hyangmok Baik:第三轮之二 / 22
Giclee print on archival Hahnemuhle Photorag (308 gsm)
Limited Edition of 22
Size 75 x 50cm
Comes with COA from Beers London (gallery that sold the work)
Only rarely prints come out on the secondary market. Highly sought after artist that does not overflow the market with original works and definately not with prints. This is a realeas of only 22 so very low and this print is number 2 of 22
Thia work was purchased from the well known London gallery Beers and was already sold out before release.. (due to pre release sales)
The work of Hyangmok Baik continues in a tradition of bold, somewhat crude, almost post-aesthetic contemporary painting. His work combines a flattened perspective; a raw, heavily-worked surface; unpredictable colour-schemes; and irreverent subject matter – from disembodied heads to ducks to platters of fruit or bottles of champagne – the paintings seem atemporal, acultural, ahistorical, and, paradoxically, universally relatable.
Hyangmok Baik:第三轮之二 / 22
Giclee print on archival Hahnemuhle Photorag (308 gsm)
Limited Edition of 22
Size 75 x 50cm
Comes with COA from Beers London (gallery that sold the work)
Only rarely prints come out on the secondary market. Highly sought after artist that does not overflow the market with original works and definately not with prints. This is a realeas of only 22 so very low and this print is number 2 of 22
Thia work was purchased from the well known London gallery Beers and was already sold out before release.. (due to pre release sales)
The work of Hyangmok Baik continues in a tradition of bold, somewhat crude, almost post-aesthetic contemporary painting. His work combines a flattened perspective; a raw, heavily-worked surface; unpredictable colour-schemes; and irreverent subject matter – from disembodied heads to ducks to platters of fruit or bottles of champagne – the paintings seem atemporal, acultural, ahistorical, and, paradoxically, universally relatable.

