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Year: 2025
Material/Technique: Oil
Size: 35 × 27 cm
Edition: Unique
Signed:Included
This artwork is available for purchase.
USD 428
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
About the Work
- Year
- 2025
- Material/Technique
- Oil
- Size
- 35 × 27 cm
- Edition
- Unique
- Signed
- Included
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- EQUAL™︎ ©
- Ship-from Area
- Abroad
- Days Until Dispatch
- Not Set
- Category
- Painting
- Style
- Conceptual, Fantasy, Emotional
Work Details
WORK CONCEPT =™︎ ©
This work takes the depiction of a single object as its point of departure, choosing the Uzi submachine gun as its subject. Since firearms are often entirely black and lack color variation, it prompted me to consider how to construct volume and mass of a black object without relying on realistic lighting and shading. Beyond the primary composition of the gun itself, the painting also incorporates details such as a criminal’s mask and explosion symbols, echoing the online culture of the game " CS ". By doing so, symbols of real and fictional violence are juxtaposed within the same painted scene.
* This work will be shipped from overseas. Thank you for your kind understanding in advance.
Exhibition Information
- Past Exhibitions
- RAW CORE - YANG, Fu An｜SOLO EXHIBITION c/o EQUAL™︎ ©09.13.2025 - 10.19
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How to Buy
This artwork is available for purchase.
USD 428
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
Artist
Marked by strong personal iconography, Yang Fu-An’s works may appear somewhat raw in form, yet their content strikes directly at the heart. His painting subjects often draw from online imagery, situational narratives, primal emotions, and non-mainstream phenomena. Whether through the juxtapositions within his compositions, the semantic charge of his forms, or the way he applies color, one can clearly sense his assertion of subcultural phenomena as a driving force in painting.In his everyday life, Yang refrains from observing with a beautifying gaze. Instead, his impulses, instincts, and psychological needs feed directly into the work—not as mere technical exercises, but as integral forces shaping each painting’s completion.
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