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Screenprint on Somerset Satin 410 gsm paper - Signed, dated and numbered in pencil on verso // Julian Opie’s Gary, popstar (1999) exemplifies his distinctive style of portraiture, where minimalism meets pop art. This screenprint on Somerset Satin paper captures a stylized likeness of a pop icon, with bold, clean lines and simplified features. Opie reduces facial details to essential elements—eyes, eyebrows, nose, and mouth—emphasized by the thick black outlines that form the structure of the face. The neutral expression and lack of intricate detail evoke a sense of universality, turning the individual into an icon. Signed, dated, and numbered on the verso, this piece is part of a limited edition of 40. Through Gary, popstar, Opie explores the intersection of identity and anonymity, where the familiar can also be strikingly abstract.
Gary, popstar, 1999
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61 x 51.1 cm
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Details
Artist
Styles
Screenprint on Somerset Satin 410 gsm paper - Signed, dated and numbered in pencil on verso // Julian Opie’s Gary, popstar (1999) exemplifies his distinctive style of portraiture, where minimalism meets pop art. This screenprint on Somerset Satin paper captures a stylized likeness of a pop icon, with bold, clean lines and simplified features. Opie reduces facial details to essential elements—eyes, eyebrows, nose, and mouth—emphasized by the thick black outlines that form the structure of the face. The neutral expression and lack of intricate detail evoke a sense of universality, turning the individual into an icon. Signed, dated, and numbered on the verso, this piece is part of a limited edition of 40. Through Gary, popstar, Opie explores the intersection of identity and anonymity, where the familiar can also be strikingly abstract.
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Elena And Cressie Get Ready For The Party 4, 2011
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Elena And Cressie Get Ready For The Party 1, 2011
Limited Edition Print
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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.
