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Hammer & Dreamsicle

36.00"W x 48.00"H x 2.5"D

$11,080 (Shipping Included)

Buy Original Commission a Piece
Preview 005

Matt O'Neill

Elmira Heights, NY

Medium: Painting

Subject Tags: power, warrior, mango, psychedelic, extra large painting, jazzy, bebop, rhythmic, abstract patterns, chiaroscuro, bright colors, fluorescent, metallic silver, venetian, marbled, zen, samba, candomble, orixa, sumerian, celtic, mayan

Media: acrylic on gessobord

Size: 36"W x 48"H x 2.5"D

Year Created: 2017

Ready to Hang

What is this synergy from Celtic forms through Mayan glyphs? I'm no anthropologist, but I can see the emergence, even in abstraction, of familiar forms--shapes, relationships between shapes, and palettes.

Hammer & Dreamsicle is a work in contrasts that can't resist each other--marbled segments are shepherded into forms by brash chiaroscuro elements. Rhythms are established in an equally Zen and Punk admixture--there are faces, places, spaces....

I haven't determined a "which side is up" but I like four of the options--as its shown here you can discern a Mayan warrior with an eclipsed dark star over their shoulder. But this is pure abstraction--what you see is there for you. Turn it the other way around and there's a Sumerian lord-figure, or look a little further and there's a Sub-Saharan African on the verge of seeing Orixa. Buyers can consult with me on "up" options--including a circular signature plate that can be adjusted for ongoing variations.

The work is acrylic on claybord, varnished under high gloss finish. The cradling is two inches deep, allowing for a variety of mounting options. Buyers of this work will receive a folio of related work, work in progress pictures, and light narrative to accompany this conversation piece that looks different in every light--exceptionally bright and exceptionally dark!

The grind and excitement of near-constant movement has given me a stormy and tense relationship to space, and to movement within that space. From walled-off Berlin, foggy Vienna, quaint Alpine villages, and myriad boxy American cities--each environment adding something subtle to my creations. I often pose the philosophical question--why would a thing need to represent another thing, if its own beauty in form should be recognized? I crave tension--seeking truth through examination of angles, trial--error, and the narrative that develops visually through the "indelibility" of contact between pen and paper.

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