The End of the End- Mini HPM Stencil Print by Denial- Daniel Bombardier

Artwork Description

The End of the End- Mini, Part of the True Facts Mini Multiple Series Original Hand-Painted Multiple (HPM) on Wood Cradled Panel ready to hang by Denial Graffiti Street Artist Modern Pop Art.

2020 Signed & Numbered HPM Limited Edition of 20 Artwork Size 24x36

"My work speaks of impending doom and a lot of crass sinister themes, but that should not mean I desire this to happen at all. I hope my work would suggest only the opposite: to show the ridiculousness of it all and how we may find better solutions for the future." -Denial

In the world of Denial, memory is important, because it is the basis of his work, as it nostalgically encourages the audience to engage with it. As a result, his art is as familiar, as it is disturbing because it reveals the most unsettling parts of society, the ones we are in a “denial” of. No matter its controversial history, graffiti is less and less viewed as a form of vandalism.

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$954.00

    The End of the End- Mini, Part of the True Facts Mini Multiple Series Original Hand-Painted Multiple (HPM) on Wood... Read more

    • The End of the End- Mini HPM Stencil Print by Denial- Daniel Bombardier
    • Year: 2020
    • Size: 11x15
    • Artist: Denial- Daniel Bombardier
    • Edition of: 20
    • Spray Paint, Stencil, Mixed Media on Wood
    • HPM
    • Wood Cradled
    • Signed:
    • Colors: Black, Yellow, Orange, Pink

    Artwork Description

    The End of the End- Mini, Part of the True Facts Mini Multiple Series Original Hand-Painted Multiple (HPM) on Wood Cradled Panel ready to hang by Denial Graffiti Street Artist Modern Pop Art.

    2020 Signed & Numbered HPM Limited Edition of 20 Artwork Size 24x36

    "My work speaks of impending doom and a lot of crass sinister themes, but that should not mean I desire this to happen at all. I hope my work would suggest only the opposite: to show the ridiculousness of it all and how we may find better solutions for the future." -Denial

    In the world of Denial, memory is important, because it is the basis of his work, as it nostalgically encourages the audience to engage with it. As a result, his art is as familiar, as it is disturbing because it reveals the most unsettling parts of society, the ones we are in a “denial” of. No matter its controversial history, graffiti is less and less viewed as a form of vandalism.

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