You can’t keep snakes in your back yard and expect them to only bite your neighbors
Eddie Martinez
You can't keep snakes...
Eddie Martinez (American, Contemporary, b. 1977): You can’t keep snakes in your back yard and expect them to only bite your neighbors, 2014. Oil, enamel, spray paint, collaged paper, baby wipe, and thumbtack on canvas; 274.3 x 182.9 cm. Kohn Gallery, Los Angeles, California, USA. © Eddie Martinez. © Kohn Gallery. © This artwork may be protected by copyright. It is posted on the site in accordance with fair use principles.

"Martinez’s work pushes the boundaries of what constitutes painting and, specifically, what comprises art. Traditional oil paint mixes with spray paint and the detritus of the studio: baby wipes, paper towels and gum wrappers are conspicuous in the textured landscape of these paintings. Vibrant color and expressive lines join together and dance around the composition, emitting a confident and powerful energy. Like the work of Philip Guston, Willem de Kooning, and Asger Jorn, pure abstraction and representation coexist on the canvas, continuously giving way to each other and contributing to the overall power that is inherent in these paintings. This deft balance looks even further into art history as it recalls the carnal primitivism of the turn of the century’s avant-garde, and the graceful lyricism of the Abstract Expressionists." (© Kohn Gallery)

'... Martinez is not exactly an unknown quantity; he has been exhibiting internationally for close to a decade. Not long after completing the culminating masterpiece of the first phase of his career, a twenty-eight-foot-wide painting titled The Feast, which was presented at Art Basel Miami in 2010 and quickly purchased by Charles Saatchi, Martinez left his New York gallery. Many long-term fans of his work wondered what was going on. Subsequently, there was an occasional sighting of a new painting at an art fair, and rumors had it that Martinez was moving toward abstraction. Some small shows followed that gave credence to the rumors, as Martinez's trademark "figures" drifted away and were replaced by more abstract, totemic forms. Then came 2014. Martinez reemerged with one-man exhibitions in rapid succession at Kohn Gallery's new digs in Los Angeles and at Timothy Taylor Gallery in London.

... he has produced a body of breakthrough work. The new paintings are large, fearlessly painted and deadly serious. The figure is still there somewhere, but Martinez himself has never been more there. Judging by the lengthy waiting lists that have accumulated, Martinez has quickly become one of the most sought-after painters on the planet.' (Steven Zevitas, © 2014, Inc.)

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