The Idol Hours exhibition catalog
London Miles Gallery presents an all new group exhibition, entitled The Idol Hours. Revisiting some of the most iconic paintings since the great Renaissance, The Idol Hours sees each of our forty New Contemporary artists recontextualize a historic and personally significant artwork from their own oblique 21st Century point of view. Thus we find Picasso's Guernica readdressed by Sergio Mora, Alex Young returning to the exquisite art nouveau of Mucha's Moet & Chandon Cremant Imperial, and Ken Keirns recreating Lady with an Ermine by Leonardo Da Vinci from 1490. Indeed from Seurat and Millet to Carvaggio and Vermeer, expect to revisit some of the world's best known and most influential paintings under the unforgiving and irreverent eye of a new generation of pop surrealists.
London Miles Gallery proudly presents Iconic artworks reinterpreted for the modern age by an elite selection of international contemporary artists. the idol hours London Miles Gallery November 2010 Exhibition Catalog Exhibition on show: November 12th to December 1st 2010 www.londonmiles.com the idol hours London Miles Gallery presents an all new group exhibition, entitled The Idol Hours. Revisiting some of the most iconic paintings since the great Renaissance, The Idol Hours sees each of our thirty eight New Contemporary artists recontextualise a historic and personally significant artwork from their own oblique 21st Century viewpoint. Thus, we find Picasso's Guernica readdressed by Sergio Mora, Alex Young returning to the exquisite art nouveau of Mucha's Mo�t & Chandon Cr�mant Imp�rial, and Ken Keirns recreating Lady with an Ermine by Leonardo Da Vinci from 1490. Indeed, from Seurat and Millet, to Carvaggio and Vermeer, expect to revisit some of the world's best-known and most influential paintings under the unforgiving and irreverent eye of a new generation of popsurrealists. With satire, irony, and pathos all wielded as adeptly as the brushes of the masters before them, these new compositions conspire to create an important, new, modern-day narrative all of its own. London Miles has invited more than thirty eight artists to take part in The Idol Hours, from emerging British exponents to newly established international names, all with the same goal � to pay a little respect to their elders. Through the evocations of these artists, The Idol Hours will showcase the best of the current New Contemporary zeitgeist � whilst heralding the pioneering artists and artworks that have shaped so much that came before it. Nom Kinnear King, Roberto Marquez, Elizabeth Winnel, Jenny Bhatt, Joe 2H McSween, Chris B Murray, Ken Keirns, Justin Fry, MadSteez, Kevin Earl Taylor, Ann Marshall, Dave Pressler, Tanner Goldbeck, Jim Mahfood, David Macdowell, Alex Garcia, Claudia Sabe, Yosuke Ueno, Tiffany Liu, Plastic God, Stella Im Hultberg, Yumiko Kayukawa, Matthew Bone, Travis Lampe, Zoe Lacchei, Scott C., Scott Belcastro, Sergio Mora, Alex Young, Bob Dob, Joe Ledbetter, David Marsh, Carrie Ann Baade,Tom Bagshaw, Phil C., Luke Chueh, Carles Gomila, Xue Wang, Michael Forbes, Jen Lobo, Yoko D'Holbachie. The Idol Hours Exhibiting artists: To purchase artworks please contact: Sales@londonmiles.com (44) 020 317 08618 alex young "I chose this image by Alphonse Mucha because of the many things it covers for me. It's practically complicated, precise and considered whilst having an overall simplicity and single direction. Ultimately, it's a piece of commercial illustration. An advert. But it still manages to resonate in the artworld. For me, Mucha has always managed to straddle that gap between illustration and fine art without a second glance. All his works, from the time of their completion and around the turn of the 20th century, have had such mass appeal that I myself cannot remember a time without them. I have seen reproductions of his work around the world in a a varity of establishments and homes. I can't recall anyone ever being outspoken about disliking Muchas's work as I have heard with other artists. I've always loved the mix of typography with image and observation drawing decoration. Technically, he was a master draftsman and sought to make beautiful, aesthetically pleasing images, an ethos that I've tried for the most to maintain." Black Orchid : Sally fucking Renolds 79 x 33 inches Spraypaint on wood �2,950 Alex Young "Moet & Chandon- Cremant Imperial" by Alphonse Mucha. 1899 Ann marshall She's Play for along (for now) 27.5 x 38.5 inches Oil on masonite & paper collage �1,700 Ann Marshall Venus Verticordia by Dante Gabriel Rossetti. 1868 "I initially chose Rossetti's Venus Verticordia because of the images's obvious and arresting beauty as well as its ability to be translated into my own current working style. In the beginning, I intended to create a more literal interpretation of his work, but during the working process, my `Venus' rebelled the entire way. In the end I let her go to become the slightly wary and hostile figure she is, probably more accurately expressing a lot of contemporary attitudes towards love." "Vincent Van Gogh is from the same town my Opa was born and raised. Growing up he always had Van Gogh books lying around so I found it fitting to do this panting. It also is 1 of 2 self portraits he did with his bandaged ear which works well with the dark narratives found in my work." bOB dOB Portrait with a bandaged ear by Vincent Van Gogh. Another Sunday Morning 8 x 10 inches Oil on panel �870 Bob Dob cHRIS b.mURRAY Madonna and Child by Michaelangelo. 1503 I picked the Madonna with Child piece because I've always admired his work and his attention to detail. Sculpture is a medium I've yet to take on but hope to do so soon. I'm fascinated most by the somber like expression on her face...it almost forces you to create your own story as to why she might look this way. The craftsmanship he put into his work makes me envious so I decided to pay homage to the man! Weathered 15 x 18 inches Mixed Media on watercolor paper �560 Chris B. Murray cLAUDIA sABE Tudor girl is a painting that I came across with, whilst researching for Pre-Raphaelites artwork by female artists. It just struck my attention and stuck in my head. I really love the simple composition and even more the sad expression in the girl's face that is framed by the stiff headpiece. In Victorian style, the striped carnation flower symbolizes rejection of love. I really love the use of symbology so I redrew the background using some popular icons in the Tudor and Victorian periods and reproduced them in the Pre-Raphaelites tapestry style. The unicorn is a symbol of purity and chastity, the fountain is a symbol of life and the Tudor roses are symbols of a great dynasty. I just really love this painting by Eleanor Fortescue-Brickdale. .Head of a tutor girl by Eleanor Fortescue Brickdale. 1900 Tudor Girl 14 x 17 inches Mixed Media on watercolor paper �650 Claudia Sabe dAVE pRESSLER The Canon of Anger is based on the Leonardo Da Vinci's "Vitruvian Man". Leonardo was a maker and inventor. I love his archaic pen and ink renderings of his ideas. It felt to me like the Angry Clobber Monkey being the antithesis of clever useful invention in advancing mankind therefore making it a fitting subject for the proportions of anger. Vitruvian Man by Leonardo Da Vinci. Canon of Anger 12 x 12 inches Acrylic and ink on wood block �690 Dave Pressler dAVID mACDOWELL Ringoism" is a satirical play on Johannes Vermeer's "Girl With A Pearl Earring". Much like Ringo's clever play with twisting of phrases, this piece twists Ringo with earRINGO. Another Ringoism would have been to title the piece "Blue Meanie Beanie"!" A short description of my artwork as a whole? "David MacDowell employs familiar popcultural icons within his art, to make deeper statements about the human experience." David Macdowell Ringoism 18 x 24 inches Acrylic on canvas �500 Girl with a pearl earing, Vermeer, 1665-1667 dAVID mARSH Guernica by Picasso. 1937 Mesh 137 x Guernica 12 x 20 inches. Posca Pen and Spraypaint on hand varnished wooden panel. �950.00 David Marsh "Why Guernica? I wanted to push myself - go beyond my comfort zone. The limited colour pallet and the dark tone of the painting contrast with my normal light-hearted subject matter. Picasso is one of my favourite 'classic' artists. Guernica is quite graphic in style which suits my own style" eLIZAVETH wINNEL Elizabeth's work endeavors to make visible the dichotomy of interior and exterior in regards to her own self-image. The interior is manifest in the emotive associations of color and form that are seen within the range of drips, splashes, and bleeding of paint. Ghostlike apparitions of the figure suggest voyeuristic eroticism, as well as an empathetic vulnerability. The artist presents herself not as an object, but rather as a site for self-reflection and analysis. Elizabeth Winnel The horned virgin 16 x 23 inches Ink, Dye, Watercolor, pastel on paper �780 Jupiter and lo by Correggio. 1530 This piece is an illustration of a rhinoceros made by Albrecht Durer in 1515. Durer made several versions of this illustration. He made woodcuts from the piece as well. The actual animal that this drawing was based on was a rhinoceros that had been gifted to the king of Portugal. The most fascinating thing about the piece is that most people in Europe had never seen a rhinoceros, including Durer. jEN lOBO The piece was made from notes and rough sketches. I think his intention was to make an accurate likeness of the rhinoceros, but I can't imagine how impossible that would be to do without having ever seen one. Before zoos were commonplace; it was extremely rare to see animals from foreign lands. Occasionally an entrepreneur would procure an animal and tour it by ship. The text in the piece is a reference to one such tour from the book "Clara's Grand Tour". I love trying to imagine how magical it must be to see an animal for the first time having no knowledge of its existence. Durer's piece holds a little of that magic for me. Sent to Sea 16 x 20 inches Watercolor on paper �400 Jen Lobo jOE lEDBETTER Lady with the Unicorn 16 x 20 inches Acrylic on Glicee Print �1000 J0e Ledbetter jim mahfood Double self Portrait, Egon Shiele, 1915 "Klimt is one of my all-time favorite artists and there's lots of designtype elements in his work that are already in my work, so it seemed natural that he would be the guy that I pay homage to..." Serpents remix 11.5 x 17.5 inches Mixed Media �600 Jim Mahfood JUSTIN fRY This piece was inspired by the Jean-BaptisteSim�on Chardin painting `SOAP BUBBLES'. I enjoy this painting as its subject matter is of a slightly dull yet a playful bourgeois character doing something random for pure time killing pleasure. Something I probably would do had I lived in his time. I appreciate Chardin's paintings and think this one is special as it is not depicting an epic drama, just a random act. I linked the duality of this bored lighthearted act with a more tense version of what his environment would be in present times. Layering of these elements mixed together lets me touch on a playful yet darker loaded image. Justin Fry Boy with soap bubbles 33 x 41 inches Acrylic and oil on canvas �1,210 kEN kEIRNS "Leonardo's Lady with an Ermine has been a favorite of mine for as long as I can remember. There's a lot in the composition that I love: her quirky expression, the interesting position of the ermine, the stark contrast of the subjects against such a dark background, and the dramatic triangular arrangement are all done so wonderfully. It was such an interesting shift from Lady With an Ermine, other portraits of its time � much more modern and Leonardo Da Vinci, 1489-1490 fun than other artists of the time. I had done some rough sketches of my take on the original back in about 2002, and at that time had thought to replace the ermine with a small white chimp. I got as far as drawing it out, but shelved it for other projects. Honestly, I'm rather glad I did -- my work from that period involved a lot more mixed media and sculptural elements, and looking back I don't know how well that "feel" would have worked. In this piece, I swapped the ermine for a Devon Rex cat. I've painted other examples of this breed of cat in the past for the same reasons I chose to use one here; they have a lot of character in their little faces and are a very interesting twist on a "normal" cat, both familiar and alien at the same time. The female subject in my piece has more modern, plain clothing than Cecilia Gallerani wore in Leonardo's original. Also more contemporary is her hair, which I left "down" and more natural, which I hope is exemplified by the blowing strand under her chin. While the original was playful for it's time, I felt that to keep that feeling with a modern subject a very relaxed, casual look was necessary, though her facial features are certainly stylized. And, as I often do, I gave her a rather long neck." Lady with a Devon Rex 12.5 x 20.5 inches Oil on board �900 Ken Keirns kEVIN eARL tAYLOR Double self Portrait, Egon Shiele, 1915 Genesis, Genetics: Jesus in Jeans 12.5 x 17 inches Oil on wood �1,350 Kevin Earl Taylor "I was drawn to the original painting through its simple but powerful theme of an animal birth and the human interaction with that event. It was also interesting to me because that interaction has changed so much from the time Millet painted "Birth of a Calf ". Given this, I wanted to update the scenario and bring in the major players and processes associated with modern births. Enlisting Jesus and a Cro-Magnon to transport the genetically modified "newborn", touches on the ideas of creationism, evolution, and science all at once. Deciding to enshroud the Christ figure in an acid-washed, denim overcoat was a whimsical nod toward popular culture. This playful element amplifies mortality in a being that symbolizes correspondence between a spiritual and physical reality and simultaneously brings a welcomed element of humor into a work of art, which threatens to be taken too seriously." Carles Gomila I thought that two icons as diverse in form and time would produce a shocking effect. I have kept the style of the painting similar to the technique used by Holland's teaching methods with the freshness of a very contemporary face like Natalie Portman's, creating a bridge between the classic epic film and the classic painting. My intention is to create a paradox about the value of timeless classics. Padme's Pearl Earring 16 x 20 inches Oil on wood. �1,100 Carles Gomila Girl with a pearl earing, Vermeer, 1665-1667 luke Chueh Luke Chueh The Saint Chuehing over Martydom 16 x 20 inches Acrylic and ink on wood panel �3,700 "My reasoning for choosing Andrea Mantegna's "Saint Sebastian" as my subject to remix and reinterpretation is rooted mostly in the raw brutality in the painting itself. Like Goya's "Saturn Devours His Son", the violence and gore of Mantegna's "St. Sebastian" truly caught my eye when I was introduced to it in my art history classes. And it was basically then, that I decided if I had the good fortune of becoming an artist, I wanted to create stunningly violent paintings such these. But asides for the violence, the image of Saint Sebastian's arrow riddled body has an incredibly popular image, and is undeniably part of western societies visual lexicon. It has even popped up in music videos (such as R.E.M.'s "Losing My Religion"). and has been remixed and reinterpreted through the filter of popular culture. One of the most popular reinterpretation being a photograph of Muhammad Ali, riddled with arrows for a cover of Esquire Magazine." Matthew Bone Garden of Eden by Jan Breughel and Peter Paul Reuben. 1615 "I recreated Jan Breughel and Peter Paul Reuben's "Garden of Eden." They were the best painters of their time, working together at the peak of their careers and coming together to create one of the most wonderfully lush pieces of all time!" Matthew Bone Malleable 14.5 x 20.5 inches Oil on wood �1850.00 My choice for the show is James Montgomery Flagg's painting of Uncle Sam.His most famous poster was created in 1917 to encourage recruitment in the United States Army during World War 1. It shows Uncle Sam pointing at the viewer (inspired by a British recruitment poster showing Lord Kitchener in a similar pose) with the caption "I Want YOU for U.S. Army". Over four million copies of the poster were printed during World War I, and it was revived for World War II. I have always been drawn to this image, for its brilliant execution, but also for the iconic symbol it has become in representing the American government. I don't consider myself as a social comentator, but as we live in such volatile times it's hard not to say something. I find my opinions sneaking in more often to my work. Often I set out to make something beautiful for the purposes of complimenting your sofa or curtains and before I know it I find myself ranting about the war or economic crisis. Waving my fist in the air and shouting at the sky. I'm on my own a lot in the studio and so these views find their way onto my canvas, which makes my work less likely to match the curtains. I'm not really trying to change the world it's just I can't help commenting on how those who are changing the world are affecting my opinion of it. This piece "I Want" is a long way from J M Flagg's intended use of this image. It was a noble Uncle Sam who looked at us calling for brave men to defend the freedom of the West. The image was very successful at drumming up soldiers for the Military. Now I see Uncle Sam calling for us to come to the aid of our nations again, to BUY BUY BUY. Get those dollars back into the economy and bail out our bankers who got us in this mess in the first place. mICHAEL fORBES I want 24 x 24 inches Oil and Money on wood �2700 Michael Forbes Carrie Ann Baade This is a composite of a female falling towards earth on an anvil and her fate appears to be doomed. She is a combination of three source images: Memling's depiction of the damned, Foucault's Madonna, and her lower torso are from a pin-up. This painting suggests that a woman, who uses her physical attractiveness to the allure of the opposite sex, may have power but it is not with out are its consequences. The chorus of putti angels are influenced by a mis-quotation I found in my grandfather's belongings after his death. "Everyday I do the best that I can, I intend to keep right on doing this until the end. In the end if things come out all right, what people have said against me will make no difference. In the end, if things come out all wrong, twelve angels swearing I was right would make no difference." The original quote is by Abraham Lincoln and had only ten angels swearing. As a woman, I try to use everything that is available to me for my success and sometimes this has it's consequences. Instead of reinterpreting a theme or copying a subject, I have created my own cautionary tale to speak about the state of being a contemporary woman by reaching into the past and making a Dr.Frankenstein-like indenity or an amalgam. Women inherit a lot of baggage from the past from the first day Eve was on Earth. We live in a state of judgement taking risks we do to be noticed, to be loved, and to respect. Portrait with a bandaged ear by Vincent Van Gogh. Carrie Ann Baade Parable of the Anvil and Garter 18 x 24 inches Oil on panel �2,450 NOM kINNEAR kING I chose Klimt's depiction of `Judith and the head of Holofernes', as he is an artist I have admired for a long time for his portrayal of the female form and for his use of pattern in setting the scene and atmosphere of a piece. The Painting has `Judith' in a strong defiant pose, with an expression that is a mixture of seduction and cruelty, her body and gaze holding mysterious powers. For my own version I placed a character of my own style in her position, taking themes and colorings that are common in my own work alongside with that of the original. Judith with the head of Holofernes, Gustav Klimt, 1901 Nom Kinnear King Judith 33 x 17 inches Oil on wood �1,000 MADSTEEZ Portrait of the Intergalactic Postman Weenseph Roulin �700 Madsteez Portrait of the Postman Joseph Roulin by Vincent Van Gogh. 1889 Jenny Bhatt Double self Portrait, Egon Shiele, 1915 The rebirth of venius 24 x 36 inches Acrylic on canvas �1,500 Jenny Bhatt In recent years, my work has been satirical. For the past couple of years, I have been addressing consumerism in my work and have created deities or characters to address global urban issues. I chose to recreate `The Birth of Venus' so as to point at the beginning of the new global economic vision. I call it the `Re-Birth of Venus'. The world is changing dynamically and although most countries are redefining their economic policies and identities, they are doing so with the past in the background. In this work, I have the Consumer Goddess (as Venus), standing on the widely recognizable `Shell' symbol with its multiple references. The demon deity offers a `Superwoman' cloak to `Venus', alluding to the aspirations of a policy maker or nation in a bid to bring about significant, positive global change. On the left, are deities named `Irreverence' and `Reverence' who although they have never been friends in the past, are jointly supportive of the new, reborn`Venus'. Plastic God Plastic God Help Da Vinci 8 x 8 inches Acrylic on wood �1,000 for all four Vitruvian Man was chosen for the sake of its universal iconography known to most of the world. It most closely resembles the type of work that I normally create that is based around icons for the same reason of instant recognition. Merged with probably the most famous rock band in the world, The Beatles Help album cover design aligned nicely in it's similarity to the body positions of Da Vinci's famous work `Vitruvian Man'. All the equivalents involved drew me into realize the piece. Roverto mARQUEZ Double self Portrait, Egon Shiele, 1915 "By reversing the color in the protagonists of the very familiar Manet painting, I wanted to tease the memory of the viewer and at the same time create a commentary on race and the roll it has played in art." Roberto Marquez Phil Coleman Black Olympia 12 x 26 inches Oil on canvas �2,000 For me a big part of the mystery, intrigue and genius of Rembrandt's `Self Portrait with Beret and Turned-Up Collar 1659' lies in the unknown facts regarding the materials that he used, where the artist got them from and exactly how they were applied to his canvasses. Everything else about Rembrandt's existence seems to be recorded, particularly his association with fame, fortune, widowhood, and also bankruptcy that was registered just 3 years before my chosen painting was completed. Prior to beginning the portrait I researched this topic as much as possible and came up with the common materials that Rembrandt used, to add texture and impact to his portrait work. I decided to paint Lord Alan Sugar in the piece at quite a late stage as we approached the exhibition, after watching a documentary on TV. I had spotted numerous similarities in both the physical appearance between Lord Sugar and Rembrandt in the original Self Portrait and also within the content of the humble roots and `rags to riches' story of both the artist and the businessman. Very soon after receiving consent from Lord Sugar to paint his portrait, my canvas and initial monochrome outlines were being covered with White Lead, Beeswax, Oils from Linseed and Almond, and modern artist pastes. My painting is a token to acknowledge and show gratitude for what this great master painter achieved in his lifetime, with a sincere show of respect for what another living being will no doubt go down in history books for accomplishing in a very different world. Phil Coleman :32 x 32inches �5,000 Is This a Bloody Joke or what? Self Portrai with Beret and turned up collar by Rembrandt. 1659 Scott C. The Anatomy Lecture Of Nicolaes Tulp was originally painted by Rembrandt for Nicolaes Tulp and his bros. I like it because of the expressions on everyones faces. Each person has a different reaction to this lecture. Some just can't believe it. Some could take it or leave it. Whilst other minds are wandering to other things like what cheese they might eat at break with that fresh loaf of bread he saw on the way in. And Nicolaes Tulp, of course, is quite proud of that muscle he is tweezing. I like the stories that are told amongst these great minds! So I wanted to just try painting it with my dudes, trying to capture some of those personalities. Scott C. The Anatomy lesson of Dr. Nicolaes Tulp 16 x 12 inches Watercolor on paper �500 The Anatomy Lesson of Dr. Nicolaes Tulp by Rembrandt 1632 sTELLA iM hULTBERG "Egon Schiele's self-portraits were something I'd always loved in their varying forms,but the Double Self-portrait always stuck with me, probably because I'm most interested in identities - especially double/multiple identities, split self, doppelgangers. I saw a huge Schiele exhibit 5 years ago (at the Neue Galerie, NYC). The sheer volume and qualities of his prolific works produced in the 10 years of his life as an artist blew my mind and changed it forever. He Simply inspired me to keep working on art. I've always meant to, but was at the same time adverse to the idea of painting my own self-portrait. Approaching it from the theme of duality put it more at ease for me, and it was such a unique experience." Stella Im Hultberg Within you, Without you 14 x 17 inches Mixed Media on linen �975 Double self Portrait, Egon Shiele, 1915 sERGIO moRA Double self Portrait, Egon Shiele, 1915 Sergio Mora Guernica Love song 2 x 1.5 meters Acrylic on Canvas �7,550 "Guernica is a painting/picture of peace but it represents the pain of war. I wanted to recreate this symbol of peace from peace itself, that is representing a new scene of peace. In `Guernica Love Song' dogs and cats (ethernal enemies) appear living together in harmony. For me this is the most naive and iconic way of representing peace: dogs & cats. I conserved the original composition of Guernica but is a very free and detached interpretation of the painting of this master, Picasso" Tanner Goldbeck The Fighting Temeraire by JMW Turner. 1838 Tanner Goldbeck LA Burning 18 x 24 inches Oil on canvas �500 My painting is an 18" tall x 24" wide landscape of the L.A. River with last summer's fires burning on the horizon. Roughly based off of two works by J.M.W. Turner. Turner's "Slave Ship" painting 1840 and, "The Fighting Temeraire", 1838. I tried to capture some of the color and drama of his overall style. I chose Turner as one of my favorite artist's because of his dramatic scenes, colors, strong metaphors and his very unique style that set him apart from his contemporaries. He took a great deal of heat from the art world, stuck with his visions and ended up being known as a major influence for future movements. An artist true to his vision against the mainstream and ahead of his time. tOM bAGSHAW "Rossetti's `Pandora' was an image that struck a chord when I first saw it in an art history book when I was a child. It probably helped shape my love of figurative works and certainly introduced me to the works of the PreRaphaelite Brotherhood. I actually saw the final painting first but prefer the chalk study he produced far more. Most of my work centers around a strong female character and for me this is probably where it all started, with the Greek Eve. I have chosen to recreate her in my own style with a contemporary feel, I wanted to give a bit more life to the swirling vapours- the sins/evils of the world, so they became far more characterized." Pandora 21 x 29 inches Digital painting embleshed with acrylic �1,900 Tom Bagshaw Pandora by Dante Gabriel Rossetti. 1869 tiffany Liu Scarry Night by Vincent Van Gogh. "I picked Van Gogh's Starry Night because I love the expressiveness of his colors and brush work. He is one of the first artists that I learned about and I very much love the story of his life. The biggest reason why I wanted to use him as my master inspiration is because I thought it would be a challenge for me to paint something that is so outside of how I usually work. My work is rendered and flat and his is textured and realistic. I feel very interested in the emotions that the artist might have felt, as the emotions that I usually handle are more based on theme, symbols and facial expressions verses using the stroke of a brush to suggest a mood." A Happy Day 11 x 14 inches Acrylic on canvas �575 Tiffany Liu Travis Lampe The Return of Marcus Sextus by Pierre-Narcisee Guerin. 1799 I chose it because of the expression on Marcus Sextus' face. And because I thought it would be funny to do it with a woodsman and a tree. Travis Lampe The Regretter 8 x 8 inches Acrylic on wood panel with silkscreened frame. �400. YUMIKO KAYUKAWA Red Fuji Southern Wind Clear Morning by Katsushika Hokusai. 1830 The piece "Mt. Fuji" is inspired by one of the most famous HOKUSAI's Mt. Fuji series. Mt. Fuji is not only famous as the beautiful mountain but a popular place for people actually hiking too. So I put a girl, people and animals in the painting hiking altogether towards to the peak. It was playful, happy and positive to paint. Yumiko Kayukawa Fujisan, Mt. Fuji. 12 x 16 inches /Acrylic and ink on wood �1,600 yOKO d'holbachie "I loved the "Kiss" in the days of being a high school student. It was erotic and shocking to me during that time. I chose to recreate this piece because I wanted to draw the beautiful face of the woman." The Kiss by Klimt. 1907 Yoko D'holbachie The Kiss 10.7 x 18 inches Oil on wood panel �1,000 yOSUKE uENO I have sympathized with "painting delights that we love in our everyday life" from the piece by William Bourguereau. I am always attracted to art works that please my eyes. Though the academic style of his art differs from mine, his pieces reminds me of my teenage days when I was longing to be an artist, so I have always been inspired by his art pieces. La Bourrique by William Bouguereau. 1884 Yosuke Ueno Dream Walker 18 x 12.6 inches Acrylic on canvas �690 XUE wANG Double self Portrait, Egon Shiele, 1915 Trash Baby 41 x 34 inches Oil on cardboard �2,500 Xue Wang "When I first encountered Delaroche's epic work (the dimensions of the original virtually fill one wall of the National Gallery), I was struck by the drama and deathly anticipation of the piece. Lady Jane Grey (1536/7?-1554) has the unfortunate moniker `The Nine Days Queen'. She was imprisoned in the Tower of London and beheaded after Mary Tudor undermined claims to her succession. The tale behind her decline and rapid fall is typical of the political machinations of the time. But I find her death, at such a tender age amongst so much personal and social turmoil, particularly moving. It is this sadness that drew me to this work." zOE lACCHEI Double self Portrait, Egon Shiele, 1915 The Sphinx 12.5 x 17 inches Mixed Media on paper �2,450 Zoe Lacchei "The sphinx" by Fernand Khnopff still rules the contemporary imagination as one of the most outstanding examples of Symbolist art. The two figures that are represented have always generated a great fascination in my mind, fascination that is ignited by the mysterious aura that surrounds them, and the possibility of giving my own personal interpretation has been the chance to blend together all the things I love: human and animal anatomy, and the delicate "relationship" that runs between two perfect creatures." Joe 2h sweeny My painting was inspired by Gustav Klimt's Judith II. The second he painted of his favorite muse. So I got together my favorite muse and did a photoshoot to get the same pose and let the imagination run from there. The styling of the hair is different but typical of the art nouveau period during the Vienna Seccession. Joe 2h Sweeny Giselle II 21 x 29 inches Acrylic and spraypaint on wood. �950 Judith II by Gustav Klimt. 1909 sCOTT bELCASTRO Sunset by J.M.W Turner. I painted Turners piece titled " Sunset " 16 x 18 acrylic on birch handmade frame with a golden oak stain finish . I made this piece in New York . I painted on an old easel down in the wood shop . The fall leaves inspired me to do something with a lot of color and that is a big reason why I picked this painting . Scott Belcastro Sunset 16 x 18 inches Acrylic on birch �550 the idol hours To purchase artworks from the Idol Hours group exhibition or for more information about London Miles Gallery please contact: Philip Coleman - Gallery Director Phil@londonmiles.com Tina Ziegler- Curator. Manager. Tina@londonmiles.com Sales@londonmiles.com (44) 0790 419 6389 London Miles Gallery Westbourne Studios 242 Acklam Road. London. W10 5JJ United Kingdom. www.londonmiles.com