Martin Whatson Connection Dk Grey (Unique aHand Finished Screen Print), 2018
Print : Screen Print · 74.9 x 54.4 x 0.3 cm 29.5 x 21.4 x 0.1 inch · Ready to hang
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Verified Reviews : 9.6/10
About the artwork
Type
Print : numbered and limited to 50 copies
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from Graffiti Prints
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
74.9 x 54.4 x 0.3 cm 29.5 x 21.4 x 0.1 inch Height x Width x Depth
Artwork dimensions including frame
78.7 x 59.7 x 2.5 cm 31 x 23.5 x 1 inch
Sold by
Art gallery
Credentials
Vetted seller since 2024 • Top Seller
Description
Unique hand finished 19 color screen print on 300 gsm somerset paper. Hand signed and dated lower right front by Martin Whatson. Hand numbered 12/50 lower left front.
Graffiti Prints certificate of authenticity included. All reasonable offers will be considered.
About the Artist: Martin Whatson (b.1984) is a Norwegian street artist best known for his calligraphic scribbles in grayscale voids. Over the past decade, Martin has developed an unmistakable aesthetic combining abstract movement with figurative stenciled compositions. His works can be seen to mirror the rise and fall of the streets, as he symbolically recreates the urban environment, then vandalizes it to reveal his vibrant transformations. Martin's work features with festivals, projects and walls globally. His original work can be found in private collections and institutions with solo exhibitions featured in cities from Tokyo to LA, London to New York.
Presentation
Young Norwegian artist Martin Whatson, born in 1984, has firmly established himself as a prominent figure in contemporary street art. With a background in art and graphic design from the prestigious Westerdals School of Communications in Oslo, Whatson's career has been marked by a seamless blend of creativity, technical skill, and a unique artistic vision. His instantly recognizable style, characterized by vibrant colors and bold contrasts, has captivated audiences worldwide, and his works have become a staple in both public spaces and galleries. His art is often full of contradictions, challenging societal norms and prompting reflection from viewers, whether they encounter his pieces on the streets or within the walls of a gallery.
In recent years, Whatson's career has continued to soar as his works gain international acclaim. In 2024, he unveiled a new series of pieces that incorporate augmented reality, blending traditional street art with cutting-edge technology. His collaborations with high-profile artists and brands, including the renowned JR, have further solidified his position as a leading force in the contemporary street art movement. Whatson's innovative approach, which pushes the boundaries of both medium and message, has made him a sought-after artist in the global art market. With exhibitions in Europe, the United States, and beyond, Whatson continues to captivate and inspire audiences with his powerful and thought-provoking artwork.
Whatson's journey as an artist began in the 1990s, growing up in Oslo amidst the rising graffiti culture. Despite facing opposition from local politicians who were adamant about suppressing street art, Whatson and his peers continued to pursue their passion, transforming the city's walls and buildings into their personal canvases. Influenced by legendary street artists such as José Parla and Cy Twombly, Whatson developed a distinctive approach, incorporating stenciling techniques into his works during the early 2000s. As street art gained recognition and moved into galleries, Whatson transitioned to working on both canvas and paper, expanding his artistic reach while maintaining his roots in outdoor murals. His work often explores themes that are overlooked by mainstream society, bringing attention to these subjects with his signature graffiti style, which blends black and white with unexpected bursts of color to create a dynamic sense of order and chaos.
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