James Akerman, 2013. Acrylic on board, 122 x 61 cm. |
Pipe, 2009. Acrylic and card on board, 122 x 61 cm. |
Lady In A Ball Gown, 2007. 2007. Acrylic and dollhouse wallpaper on canvas, 105 x 85 cm. |
Trampoline, 2007. Acrylic on canvas, 105 x 85 cm. |
Caped Lady, 2007. Acrylic and dollhouse wallpaper on canvas, 105 x 85 cm. |
Vail, 2008. Acrylic and paper on canvas, 50 x 41 cm. |
Vogue, 2008. Acrylic on board. |
Shoulderdust, 2009. Mixed media. |
Study - Shrinetime, 2013. Mixed media. |
Study . Candyfloss, 2013. Mixed media. |
Study . Candyfloss II, 2012. Pencil on paper, 210 x 297 cm. |
Portrait, 2008. Acrylic on canvas, 25 x 25 cm. |
Even, 2013. Pencil on paper, 210 x 297 cm. |
Study - Untitled I, 2012. Pencil on paper, 210 x 297 cm. |
Study 2, 2008. Pencil on paper, 210 x 297 cm. |
Study 3, 2012. Pencil on paper. |
Study 5, 2012. Pencil on paper, 210 x 297 cm. |
The Christian, 2011. Pencil on paper, 210 x 297 cm. |
23 Stops, 2012. Pencil on paper, 210 x 297 cm. |
Clown, 2009. Pencil on paper, 210 x 297 cm. |
Red Sink, 2012. Mixed media. |
James Akerman was born in Oxford 1972. His early years were spent in Grimsby, South Humberside before his family relocated to Gloucester in the early 80's.
He now lives & works in London.
Tradition & Rituals play a large part in James Akerman's work drawing on repetition with melancholic expression and Lifeless pallor are a reminder of a vibrant life, with the constant reminder of our own immortality. All the Prints & Patterns used within the Work are original pieces in there own right.
With CAPED LADY only her black dress and rings remain along with anonymous props, lonely without sentiment or intimacy.
He now lives & works in London.
Tradition & Rituals play a large part in James Akerman's work drawing on repetition with melancholic expression and Lifeless pallor are a reminder of a vibrant life, with the constant reminder of our own immortality. All the Prints & Patterns used within the Work are original pieces in there own right.
With CAPED LADY only her black dress and rings remain along with anonymous props, lonely without sentiment or intimacy.
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