Mucciaccia Contemporary

Limited Edition 2020

100 limited edition signed works by Aftermodernism artists: Benjamin Edwards and Tom Sanford.

BENJAMIN EDWARDS

BENJAMIN EDWARDS

Bot in Love, 2020

Benjamin Edwards, Bot in Love, 2020, signed by the artist, 60x44.5 cm, 24x17.5 inches, limited edition of 100, printed on Hahnemuhle Museum Etching paper with Canon Lucia Pigment ink, printed in December 2020.

€350

Shipping costs are not included

"Bot in Love" Concept

Bot in Love (2020) portrays a hybrid human figure, half human, half digital avatar, which is the best expression of the artist’s research, mainly focused on the topics of progress and nature.

Situated at the interstice of the physical and the digital, this artwork magnifies that moment between present and future, reality and possibility, the mortal and immortal. The creation of these anonymous identities arises from Benjamin Edwards' encounter with Thomas Mores’ Utopia, which influenced his artistic production where the human figure is represented as a hybrid between an avatar and a digital being.

The work is emblematic of Edwards' aesthetic based on fragmentation and non-linearity. This creative technique is constructed with the use of technological techniques such as HTML and digital projector. Despite the technological tools he employs, the product is still very much a traditional painting with its material tactility – an alternative point of view from which to analyze the nature of the information era. Regarding the nuances this analysis implies, Edwards offers further clarification, «to address technological issues with technological media perhaps isn’t critical enough and risks embracing the ideology of using technology in the first place.»

TOM SANFORD

TOM SANFORD

The A Train, 2014

Tom Sanford, The A Train, 2014, 44x55 cm, 17.3x21.6 inches, signed by the artist, Limited edition of 100, printed on Hahnemuhle Museum Etching paper with Canon Lucia Pigment ink, printed in December 2020.

€350

Shipping costs are not included

"The A Train" Concept

The A Train (2014) is part of the series of works dedicated to Harlem, Upper Manhattan, where Tom Sanford currently lives and works.

The work represents the "A Train" subway stop, that became famous after the song "Take the A Train”. The song was composed by American singer Billy Strayhorn, and produced and recorded by Duke Ellington, both resident in Harlem, a few blocks away from where Tom Sanford lives.

The artwork narrates the story of the artist's link with music, but also summarizes Tom's particular relationship with Harlem, a neighbourhood of Manhattan with a complex and lively multicultural character. Sanford portrays subjects that have left a trace in his artistic life, but also in the historical memory of the popular community of the quarter.

The train stop "125th street" station, coincides with the heart of Harlem. The T-shirts worn by the characters portray logos of public places, specifically renown meeting points, such as Harlem Public and The hogshead. Sanford refers to iconographic citations to recall cultural identities loved by the people of the neighbourhood. The verses of the poet Langston Hughes are in the advertising in the background of the carriage, together with the writings of the Harlem writers, the street artist ASIF.

The Authors

BENJAMIN EDWARDS

Ben Edwards Bio

Benjamin Edwards, born in 1970, in Iowa City, Iowa.

Lives and works in Washington D.C.

Ben Edwards’ research is a continuous investigation of the dynamic relationship between progress and nature, attempting to understand their balance and laws. From this philosophy originates the shape of his imaginary cities, where the human figure is only limited to a theory of portraits not easily identifiable.

Edwards densely detailed paintings explore contemporary society as hallucinatory and visionary landscapes, composed and layered with transparencies and shifts in figure and ground. Edwards deploys a seemingly inexhaustible dictionary of corporate identities and image branding, obtained from disparate sources, both high and low, found and invented, which are fragmented and spliced into historical designs and structures of city buildings and plans (including those never built and/or destroyed) populated with hybrid figures or 'automatons'.

Following his encounter with Thomas Mores' Utopia, Edwards created his Imaginary Cities series, from which he developed the concept of Utopia as it relates to the work of art. Edwards wants to express his concept of Utopia, a work that has a validity of its own and overcomes the artist in the sense that it transcends not only time and the physical life of the artist, but also conceptually, since it is constantly reborn through every new interpretation.

Edwards has employed many techniques over the years to further embrace the unexpected and allow it to harmoniously exist alongside that which might be different. At first he used a slide projector, shifting or layering images, to achieve unforeseen combinations of imagery, to then paint. In 2005, he took this process a step further and began using a JavaScript embedded HTML code in combination with a digital projector.

Edwards has exhibited widely in the United States, Europe and Asia. His work is included in prestigious museum collections such as the Carnegie Museum of Art, Pittsburgh, PA and The Museum of Modern Art, New York, NY. Edwards is part of the Aftermodernism artistic movement founded by the collector Hubert Neumann. In October 2020, he partecipated in the duo exhibition Aftermodernism Chapter 2 A perspective on contemporary Art , Benjamin Edwards Tom Sanford curated by Cesare Biasini Selvaggi at the Mucciaccia Contemporary gallery in Rome.

TOM SANFORD

Tom Sanford Bio

Tom Sanford, born in 1975 in Bronxville, NY.

He received a BA from Columbia University and a MFA from Hunter College.

He lives and works in Harlem, New York.

Sanford’s paintings reflect a deep ambivalence about the American cultural condition. His subjects are numerous and vary widely, ranging from history paintings depicting celebrity assassinations, to icon paintings of gangsta rappers,  to elaborate cosmologies weaved together from Hollywood movies, to contemporary genre paintings of bars and subways cars.

Sanford paints within the established tradition of still-life and portraits, though he employs contemporary references as his subject matter. His still-life include above all beer cans, but also pizza boxes and hard liquor in large quantities. His portraits focus on various forms of humanity–villains and victims, as well as the tragedies and triumphs of of contemporary society.

The artist takes inspiration from today's world: «I am interested in history, but I work in a post-historical period. I make paintings about the time I live in. –recounts Tom Sanford- The media is my muse, I paint by the light of my computer. I make paintings about the things that interest me. I wish I had time to paint more things, but art is slow and the world is fast.»

Tom Sanford has exhibited extensively in museums and galleries around the world. Sanford's exhibitions include solo shows at Gallery Poulsen (Copenhagen), Kravets Wehby Gallery (NYC), Galleri S.E (Bergen), Gitler &___ (NYC), Leo Koenig Inc. (NYC), Galleri Faurschou (Copenhagen), BravinLee Programs (NYC), Gallery ZIdane (Luxembourg) and others as well as numerous group exhibitions and projects in commercial galleries and museums around the world.

Sanford is part of the Aftermodernism artistic movement founded by the collector Hubert Neumann. In October 2020, he partecipated in the duo exhibition Aftermodernism Chapter 2 A perspective on contemporary Art, Benjamin Edwards Tom Sanford, curated by Cesare Biasini Selvaggi, at the Mucciaccia Contemporary gallery in Rome.

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