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Florian Beigel + Philip Christou

Florian Beigel + Philip Christou
Still Life 25_171113, 2017

Giclée ink on Fabriano acid free paper
Printed 2022
42 x 29.7 cm
Edition of 50
Printed signature by Florian Beigel and Philip Christou
Hand signed and numbered by Philip Christou + certificate of authenticity

Was £180 Now: £150 (unframed)
P&P: £15 (UK), £20 (Europe), £30 (rest of the world)

Order here

‘This drawing is one of my favourites of all the 'still life' drawings that Florian Beigel and I made during the past 10 years or so. It seems to be slightly stretched in the vertical dimension, and there is a magical sense of depth that goes into the page. As I recall, we had a small A4 print of one of Peter Märkli's language drawings in a frame leaning against the wall. This drawing started out as an interpretation of the beautiful rhythm of vertical lines and spaces in the Markli drawing. At one point I think it departed so far from the starting point that we turned it upside down and decided to introduce a small red figure at the bottom. In the end it began to have its own sense of spatial rhythm.’
_ Philip Christou, 2022

Florian Beigel + Philip Christou

Florian Beigel + Philip Christou
Still Life 25_171113, 2017

Giclée ink on Fabriano acid free paper
Printed 2022
42 x 29.7 cm
Edition of 50
Printed signature by Florian Beigel and Philip Christou
Hand signed and numbered by Philip Christou + certificate of authenticity

Was £180 Now: £150 (unframed)
P&P: £15 (UK), £20 (Europe), £30 (rest of the world)

Order here

‘This drawing is one of my favourites of all the 'still life' drawings that Florian Beigel and I made during the past 10 years or so. It seems to be slightly stretched in the vertical dimension, and there is a magical sense of depth that goes into the page. As I recall, we had a small A4 print of one of Peter Märkli's language drawings in a frame leaning against the wall. This drawing started out as an interpretation of the beautiful rhythm of vertical lines and spaces in the Markli drawing. At one point I think it departed so far from the starting point that we turned it upside down and decided to introduce a small red figure at the bottom. In the end it began to have its own sense of spatial rhythm.’
_ Philip Christou, 2022

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