Caminos divergentes II, 2018
Painting : Watercolour, cardboard, pencil, lead mine, mixed media · 114 x 146 x 3 cm 44.9 x 57.5 x 1.2 inch
$11,004
11 004 $US
Shipping & delivery
Shipped from: Spain
Delivery to: United States , $ 525
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Watercolour , cardboard , pencil , lead mine , mixed media on Linen
Dimensions ( cm • inch )
114 x 146 x 3 cm 44.9 x 57.5 x 1.2 inch Height x Width x Depth
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Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
Presentation
Cuban painter graduated with a gold medal in 2002 in San Alejandro´s Fine Art Academy of Cuba. He was a teacher in painting in that Academy. I had a loan at Arteleku, San Sebastián, Spain. He studied in several engraving, lithography and serigraphy studios between 2004 and 2007. He took part of several masterclasses and lectures: `Caixa Forum, Peter Greenaway´, in 2009; “Contemporary Spanish art memorial” in Reina Sofía Museum, in 2011.
Días Sosa is a todays´ artist, extremely contemporary and cuban. His analysis method is related to central european vision from Kafka. The relationship between the human being and the State, the mass society, tantric efforts to build Babel towers that desmithicate the sky or the acceptation of death are some of this artist´s topics. Joseph Beuys and Anselm Kiefer were his first references from whom he took the freedom of gestures.
Días Sosa is a todays´ artist, extremely contemporary and cuban. His analysis method is related to central european vision from Kafka. The relationship between the human being and the State, the mass society, tantric efforts to build Babel towers that desmithicate the sky or the acceptation of death are some of this artist´s topics. Joseph Beuys and Anselm Kiefer were his first references from whom he took the freedom of gestures.
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