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Acrylic sculpture; signature on certificate; perfect condition // Backside Brussels IV by Jonathan Monk is an acrylic wall sculpture from 2016, part of a limited edition series that combines minimalist aesthetics with a humorous twist. The sculpture appears as a plain white box with a small black dot in the center, which is revealed upon closer inspection to represent the backside of a miniature Manneken Pis figure, the iconic statue from Brussels. This edition contains a unique variation of the Manneken Pis, adorned with the colors of the Belgian flag, adding a patriotic touch to the artwork. Hidden on the reverse side, the small statue contrasts playfully with the otherwise sleek and unassuming exterior. Signed on a certificate, this work exemplifies Monk’s ability to merge simplicity with a surprise element, inviting viewers to look beyond appearances in a witty, thought-provoking way.
Backside Brussels IV, 2016
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40 x 40 X 4 cm
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Details
Artist
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Acrylic sculpture; signature on certificate; perfect condition // Backside Brussels IV by Jonathan Monk is an acrylic wall sculpture from 2016, part of a limited edition series that combines minimalist aesthetics with a humorous twist. The sculpture appears as a plain white box with a small black dot in the center, which is revealed upon closer inspection to represent the backside of a miniature Manneken Pis figure, the iconic statue from Brussels. This edition contains a unique variation of the Manneken Pis, adorned with the colors of the Belgian flag, adding a patriotic touch to the artwork. Hidden on the reverse side, the small statue contrasts playfully with the otherwise sleek and unassuming exterior. Signed on a certificate, this work exemplifies Monk’s ability to merge simplicity with a surprise element, inviting viewers to look beyond appearances in a witty, thought-provoking way.
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What is new figuration?
Neo-Figurative Art is a collective term that refers to the revival of figurative art in America and Europe during the 1960s, following a period dominated by abstraction. Michel Ragon, a French art critic, argued that this resurgence of figuration occurred during a critical time of social and political upheaval in both regions.
