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Warholed by Patrick Hughes
Patrick Hughes
b. 1939 | British
Warholed
Signed “Warholed / Patrick Hughes” (en verso)
Oil on panel
Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed reverspectives, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity.
Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled Warholed, employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre.
Hughes coined the term reverspective for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.”
The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a reverspective painting can take up to three months from start to finish.
Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London, entitled Sticking-Out Room, thus beginning his long fascination with perspective illusions. He has since authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London.
Panel: 18 3/4" high x 24 1/2" wide (47.63 x 62.23 cm)
Frame: 26" high x 31 3/4" wide x 8" deep (66.04 x 80.65 x 20.32 cm)
b. 1939 | British
Warholed
Signed “Warholed / Patrick Hughes” (en verso)
Oil on panel
Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed reverspectives, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity.
Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled Warholed, employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre.
Hughes coined the term reverspective for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.”
The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a reverspective painting can take up to three months from start to finish.
Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London, entitled Sticking-Out Room, thus beginning his long fascination with perspective illusions. He has since authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London.
Panel: 18 3/4" high x 24 1/2" wide (47.63 x 62.23 cm)
Frame: 26" high x 31 3/4" wide x 8" deep (66.04 x 80.65 x 20.32 cm)
Patrick Hughes
b. 1939 | British
Warholed
Signed “Warholed / Patrick Hughes” (en verso)
Oil on panel
Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed reverspectives, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity.
Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled Warholed, employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre.
Hughes coined the term reverspective for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.”
The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a reverspective painting can take up to three months from start to finish.
Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London, entitled Sticking-Out Room, thus beginning his long fascination with perspective illusions. He has since authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London.
Panel: 18 3/4" high x 24 1/2" wide (47.63 x 62.23 cm)
Frame: 26" high x 31 3/4" wide x 8" deep (66.04 x 80.65 x 20.32 cm)
b. 1939 | British
Warholed
Signed “Warholed / Patrick Hughes” (en verso)
Oil on panel
Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed reverspectives, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity.
Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled Warholed, employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre.
Hughes coined the term reverspective for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.”
The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a reverspective painting can take up to three months from start to finish.
Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London, entitled Sticking-Out Room, thus beginning his long fascination with perspective illusions. He has since authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London.
Panel: 18 3/4" high x 24 1/2" wide (47.63 x 62.23 cm)
Frame: 26" high x 31 3/4" wide x 8" deep (66.04 x 80.65 x 20.32 cm)
$26,075.00
Original: $74,500.00
-65%Warholed by Patrick Hughes—
$74,500.00
$26,075.00Description
Patrick Hughes
b. 1939 | British
Warholed
Signed “Warholed / Patrick Hughes” (en verso)
Oil on panel
Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed reverspectives, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity.
Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled Warholed, employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre.
Hughes coined the term reverspective for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.”
The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a reverspective painting can take up to three months from start to finish.
Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London, entitled Sticking-Out Room, thus beginning his long fascination with perspective illusions. He has since authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London.
Panel: 18 3/4" high x 24 1/2" wide (47.63 x 62.23 cm)
Frame: 26" high x 31 3/4" wide x 8" deep (66.04 x 80.65 x 20.32 cm)
b. 1939 | British
Warholed
Signed “Warholed / Patrick Hughes” (en verso)
Oil on panel
Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed reverspectives, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity.
Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled Warholed, employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre.
Hughes coined the term reverspective for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.”
The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a reverspective painting can take up to three months from start to finish.
Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London, entitled Sticking-Out Room, thus beginning his long fascination with perspective illusions. He has since authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London.
Panel: 18 3/4" high x 24 1/2" wide (47.63 x 62.23 cm)
Frame: 26" high x 31 3/4" wide x 8" deep (66.04 x 80.65 x 20.32 cm)
