Paint and vinyl on wood.
Signed and titled to the underside ‘Julian Opie Christine Stay Ups Bra + Pants’.
Work shows areas of chipping and paint loss, most notably to edges and lower corners. Discoloration to the upper right quadrant.
Julian Opie’s Christine Stay Ups Bra + Pants (2000) is a painted and vinyl relief on wood that exemplifies the artist’s distinctive reductive style. The elongated female figure is rendered in flat green lines and shapes, stripped of facial detail and individualized features, transforming the body into a universal, almost icon-like presence. Opie’s use of clean contours and simplified forms draws from digital aesthetics and signage, emphasizing clarity and immediacy. The frontal pose and minimal composition focus attention on posture and silhouette rather than identity, reflecting themes of representation and perception in contemporary visual culture. The work blurs the boundary between painting and object, combining graphic precision with sculptural presence.
Julian Opie (UK, 1958) is a contemporary artist renowned for his minimalist, stylized portraits and landscapes. Using bold lines and flat colors, his work bridges art and digital technology, often drawing from Pop Art and Japanese woodblock prints. Opie’s distinctive style has made his art instantly recognizable and widely exhibited worldwide.
WoodWood is one of the most ancient and versatile materials used in creating art. It has served as a base for paintings, brush handles, pens, and pencils, as well as for easels, wood engraving, woodcut, woodblock printing, and sculpting. Various types of wood, such as oak, maple, and pine, are commonly used in these artistic applications.
Paint and vinyl on wood.
Signed and titled to the underside ‘Julian Opie Christine Stay Ups Bra + Pants’.
Work shows areas of chipping and paint loss, most notably to edges and lower corners. Discoloration to the upper right quadrant.
Julian Opie’s Christine Stay Ups Bra + Pants (2000) is a painted and vinyl relief on wood that exemplifies the artist’s distinctive reductive style. The elongated female figure is rendered in flat green lines and shapes, stripped of facial detail and individualized features, transforming the body into a universal, almost icon-like presence. Opie’s use of clean contours and simplified forms draws from digital aesthetics and signage, emphasizing clarity and immediacy. The frontal pose and minimal composition focus attention on posture and silhouette rather than identity, reflecting themes of representation and perception in contemporary visual culture. The work blurs the boundary between painting and object, combining graphic precision with sculptural presence.
Julian Opie (UK, 1958) is a contemporary artist renowned for his minimalist, stylized portraits and landscapes. Using bold lines and flat colors, his work bridges art and digital technology, often drawing from Pop Art and Japanese woodblock prints. Opie’s distinctive style has made his art instantly recognizable and widely exhibited worldwide.
Widely associated with the New British Sculpture movement, Julian Opie is a visual artist whose works draw influence from a wide range of subjects including classical portraiture, Japanese woodblocks and billboards. Among Opie’s most notable works are his LCD animations, Christine Blinking and Suzanne Walking, as well as his simplified portraits that depict subjects through basic lines and blocks of colour, exemplified in his New York Couple series. Using a diverse range of both traditional and technological materials, such as painted steel, vinyl and digital software, Opie has created his own unique style that produces condensed, yet thought-provoking images of every-day life, merging elements of Minimalism with aspects of Pop Art – the artist has previously cited Roy Liechtenstein and Andy Warhol as influences on his style. (Artist website)
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.