It could be said that Horace's paintings are autobiographical in that they emerge of experiences, places, paintings and people that he has met on his travels. His influences are eclectic and range from the naive stylised jungles of Henri Rousseau to the pop art paraphernalia of Peter Blake with bits of Mark Rothko, Kenneth Noland, Wayne Thiebaud or Joseph Cornell thrown into the mix. He is not averse to appropriating images from his favourite artists and subverting them to suit his own purpose in his own paintings.
However, he has always been fascinated by traditional forms of iconography so each of his paintings has the concept of 'iconographic writing' at its centre.' Iconography' he says 'is like graffiti in that it is written/textualised' and serves a practical purpose. This also applies to iconic forms of political propaganda in which art reflects an ideology and is used as a tool to reinforce political rhetoric. Horace's aim in creating contemporary iconography is to question the narrative of the icon by reproducing and questioning its status and authority in a post-modern setting.
Dimensions: 61 x 61cm
Medium: Acrylics, Montage
“I love 'Chicago Blues', always have. In these images I wanted to be able to capture some of
the rough, gritty texture of the music and convey something of the essence of the city.”
Think Henri Rousseau meets Peter Blake in Harajuku - at the beach. The original was auctioned for Teenage Cancer Trust and 10% of profits from the prints go to the charity too.
This lady works at the 798 Art District in Beijing. She seemed a happy soul. I hope one day I can give her a copy of this.
Silver Robot started out as an A5 pencil drawing of a little robot I own. The drawing turned into the Horace Panter Art logo, got blown up out of all proportion and ended up as a silk-screen print. There is something very enigmatic about him don't you think?!
Referred to by colour only, these figures have an ambiguous presence. No name, no face, no number!
I love 'Chicago Blues', always have. In these images I wanted to be able to capture some of the rough, gritty texture of the music and convey something of the essence of the city.