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There are Some Dead Who are More Alive than the Living is a Porcelain Sculpture by contemporary artist Magnus Gjoen. From a limited edition of 50. The skull is numbered on the bottom and comes in a presentation wooden box with a COA. There are Some Dead Who are More Alive than the Living is a sculpture of a human skull. Recalling eighteenth century Delftware, Gjoen has decorated the skull with a blue, Baroque pattern, which weaves around the cranium, highlighting the gossamer line between life and death. A beautifully tactile work of art, Gjoens sculpture is the ultimate memento mori for the twenty-first century. Magnus worked with an artisan ceramicist, Roberto Gagliano, to create a hand crafted cast. A blue, Baroque pattern was then individually applied, weaving around the cranium and highlighting the gossamer line between life and death. Fired at a very high temperature for a remarkable quality and finish. Magnus Gjoen - former designer for Vivienne Westwood - knows a thing or two about style. Having turned his hand to the art of print making, Gjoen creates images that are full of startling beauty as well as a profundity of thought: his art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. PLEASE NOTE: Due to the decals being hand applied to each skull individually there can be slight variations.
I try to create something new, but from something that already exists. The choice of paintings is usually something that evokes a sentiment or an emotion in me. Putting these with other objects not only beautifies the object but makes you look at it in a different light
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Magnus Gjoen’s work incorporates a street and pop aesthetic with a fine art approach, combining Renaissance source material with his own distinct motifs and patterns. Magnus Gjoen’s art is the sum of many contradictions, evocative and glamorous yet eerily macabre, and hovers delightfully between styles.
Magnus Gjoen’s work incorporates a street and pop aesthetic with a fine art approach, combining Renaissance source material with his own distinct motifs and patterns. Magnus Gjoen’s art is the sum of many contradictions, evocative and glamorous yet eerily macabre, and hovers delightfully between styles.
Gjoen often explores the relationship between power and fragility through his work, juxtaposing the two states to create the maximum visual and conceptual effect. Magnus sources imagery from museum archives and other fragments from the past to create an unmistakable dissonance within his work. Gjoen had a multicultural childhood, being born to Norwegian parents and living in Italy, Switzerland, Denmark, and the UK. After studying fine art and fashion design, Gjoen turned his attention to the world of fashion. With extensive experience working as a designer under Vivienne Westwood, as well as a denim designer at Lee Jeans, Gjoen certainly knows a thing or two about style. Gjoen’s reinterpretations of skulls, guns, and grenades are created digitally and begin life as a virtual 3D base in illustrator or another design program. From then the artist builds up layers of tone and shading to give the image three-dimensional qualities. Since making the move from designer to artist, Gjoen has built a broad and highly engaged global audience. Since his debut at the Underdog Gallery, Gjoen has had a range of solo shows in galleries worldwide and his work is highly sought-after by private collectors and public clients. Gjoen has exhibited in Milan, Florida, London, Hamburg, Amsterdam, and Stockholm. Celebrity collectors include the likes of Kylie Jenner, Graham Norton and Kate Moss.
We love how Magnus' artwork is a flurry of contradictions. Life and death, old and new, glamorous yet macabre: Magnus toes the line between each contradiction, resulting in a completely unique aesthetic. We love how the artist combines Renaissance and Classical source material with his own distinct motifs, hovering between styles and reinventing traditional artistic techniques. Magnus sources imagery from museum archives and other fragments from the past to create an unmistakable dissonance within his work.
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