Bird, shot
Bird, shot
Bird, shot

Sebastian Black

Bird, shot, 201551.5 x 44cmSign in to view price
Details
MaterialGallery
gouache on paperClearing
Description
Human-crafted. AI-refined.

The artwork depicts a hand-like shape composed of organic, abstract forms in shades of gray. The overall composition appears to be created using a loose, expressive style, with the shapes and textures lending a sense of spontaneity and fluidity. While the subject matter is not immediately recognizable, the piece evokes a sense of introspection and the interconnectedness of the natural world. The artist's intention seems to be exploring the human form and its relationship to the natural environment through a contemporary, experimental approach to painting. ...

Similar Artworks
Seaside
Anna Glantz
Seaside, 2023
80 x 150cm
Blackboard (Vertical Gestures)
Tala Madani
Blackboard (Vertical Gestures), 2021
152.4 x 304.8 x 3.2cm
At Home - Lady in Red in Purple Room
Tschabalala Self
At Home - Lady in Red in Purple Room, 2022
121.9 x 91.4cm
Syrup
Anna Glantz
Syrup, 2019
198.1 x 157.5cm
Perfect Copy I
Tala Madani
Perfect Copy I, 2021
99.7 x 80 x 2.5cm
root note
Ej Hill
root note, 2022
155 x 129cm
just hold steady…it's only here for a moment
Ej Hill
just hold steady…it's only here for a moment, 2023
42 x 32 x 4cm
Leisure Man in Blue Shirt on Hardwood Floor
Tschabalala Self
Leisure Man in Blue Shirt on Hardwood Floor, 2022
183.2 x 145.1 x 4.1cm
Saintsation (Enlarged Hand)
Anna Glantz
Saintsation (Enlarged Hand), 2019
198.1 x 157.5cm
Untitled
Tala Madani
Untitled, 2021
51.4 x 43.2 x 2.5cm
Skogen
Melinda Braathen
Skogen, 2021
152.4 x 203.2cm
Untitled
Wyatt Kahn
Untitled, 2021
128.3 x 52.1 x 15.2cm
Shit Mom (Zed)
Tala Madani
Shit Mom (Zed), 2021
40.6 x 38.1 x 2.5cm
just hold steady…i've got you
Ej Hill
just hold steady…i've got you, 2023
42 x 32 x 4cm
Lifted Lounge #2 (Orange)
Tschabalala Self
Lifted Lounge #2 (Orange), 2021
88.9 x 55.9 x 162.6cm
When I met my first spiral
Ariana Papademetropoulos
When I met my first spiral, 2019
250 x 200cm
SamSamSam
Wyatt Kahn
SamSamSam, 2017
172.7 x 180.3 x 19.1cm
Leisure Lady with Bun in Pink Dress
Tschabalala Self
Leisure Lady with Bun in Pink Dress, 2022
183.2 x 145.1 x 4.1cm
Untitled
Tala Madani
Untitled, 2021
40.6 x 49.5 x 2.5cm
Surrendered (A Leap of Faith)
Ej Hill
Surrendered (A Leap of Faith), 2023
101.5 x 76cm
Medium Horse
Anna Glantz
Medium Horse, 2021
68.6 x 83.8cm
Fat Painting
Alexandra Noel
Fat Painting, 2023
15.2 x 22.9 x 1.9cm
Dead Soldier
Calvin Marcus
Dead Soldier, 2018
258 x 200.6cm
The Path
Adam Alessi
The Path, 2022
45 x 37.5cm
Sebastian Black
Artist
Sebastian Black
B.1985, American

Sebastian Black is a painter and sculptor who depicts colourful, fragmented and multi-layered forms that confuse the delineation between abstraction and representation. Black’s paintings are playful, satirising the art world, the stereotypically sombre eye of the critic, and the outlandish speculations made by viewers when trying to determine the meaning of an artwork. An ode to the cubism of the early 20th century, Black’s works are like the Rorschach test; some portray drooping dog’s faces that also appear like female forms if viewed in a different way. Black seeks to unpick and reimagine the notion of abstraction in order to manipulate the viewer’s relationship, both with his works and with their own perceptions. Written by Goldsmiths CCA ...

Sebastian Black: Artworks
B (muzzle) U (ear) ren, M(nose)o(eye)sset, Parmenti(pupil)er, Toro(eye)ni(pupil).​“No gestures!” (Whiskers) Said the guys, slashing the air.​“New gestures!” that is. All very French. On a related note: When I tap U (ear) my phone suggests I. Is that a thought or its obviation?
Sebastian Black
B (muzzle) U (ear) ren, M(nose)o(eye)sset, Parmenti(pupil)er, Toro(eye)ni(pupil).​“No gestures!” (Whiskers) Said the guys, slashing the air.​“New gestures!” that is. All very French. On a related note: When I tap U (ear) my phone suggests I. Is that a thought or its obviation?, 2016
152.4 x 114.3cm
Loanzy Dip
Sebastian Black
Loanzy Dip, 2015
50.8 x 40.6cm
Pink Deposit
Sebastian Black
Pink Deposit, 2015
70 x 65cm
Thank you. Thank you. Now I would like to talk about how the Bush administration covered up the tapestry of Guernica by the entrance to the U.N. Security Council with some blue curtains [ears] so that those poor ladies wouldn’t have to watch Colin Powell’s W.[mouth] M.[eyes] D.[nose] slideshow. Nelson Rockefeller commissioned that tapestry and gave it to the U.N. to promote peace on earth. What would he say about such hijinks? He who had Lenin sandblasted [whiskers] off his Diego Rivera mural might have offered valuable insight! Oh those poor Guernican gals! With their hands like baseball mitts and their ears like clam fritters, [muzzle] forced to listen while Secretary Powell made his terrible case. I hope they find peace and quiet. Once in Italy I saw a painting of a damsel. She had a an ivory bosom and dimples [pupils] where her knuckles should have been. She was in the middle of a gilt frame in the middle of a great hall [muzzle, head] where nobody was saying anything. I hope they find peace like that
Sebastian Black
Thank you. Thank you. Now I would like to talk about how the Bush administration covered up the tapestry of Guernica by the entrance to the U.N. Security Council with some blue curtains [ears] so that those poor ladies wouldn’t have to watch Colin Powell’s W.[mouth] M.[eyes] D.[nose] slideshow. Nelson Rockefeller commissioned that tapestry and gave it to the U.N. to promote peace on earth. What would he say about such hijinks? He who had Lenin sandblasted [whiskers] off his Diego Rivera mural might have offered valuable insight! Oh those poor Guernican gals! With their hands like baseball mitts and their ears like clam fritters, [muzzle] forced to listen while Secretary Powell made his terrible case. I hope they find peace and quiet. Once in Italy I saw a painting of a damsel. She had a an ivory bosom and dimples [pupils] where her knuckles should have been. She was in the middle of a gilt frame in the middle of a great hall [muzzle, head] where nobody was saying anything. I hope they find peace like that, 2018
152.4 x 114.3cm
Second to last supper
Sebastian Black
Second to last supper, 2020
40.64 x 60.96cm
Yellow gesture
Sebastian Black
Yellow gesture, 2021
91.44 x 68.58cm
India by the Pool
Sebastian Black
India by the Pool, 2020
213.36 x 160.02cm
Grant's Pool
Sebastian Black
Grant's Pool, 2020
121.92 x 91.44cm
The Midwife
Sebastian Black
The Midwife, 2021
68.6 x 92.7cm
Self-Portrait As A Good Boy 6
Sebastian Black
Self-Portrait As A Good Boy 6, 2020
68 x 68cm
Period piece
Sebastian Black
Period piece, 2015
61 x 46cm
Bercy Embankment
Sebastian Black
Bercy Embankment, 2015
76.2 x 73.6 x 152cm
Bank Desk Embankment
Sebastian Black
Bank Desk Embankment, 2015
116.8 x 73.6 x 116.8cm
The job of us artists is to draw new lines. All the old lines are straight [whiskers], even the curvy ones and us artists gotta draw new ones. Us American artists, we thought the road was really something. For a hundred years we poked at its vanishing point [mouth] with our thoughts. Like sea lions we thought we could balance our dreams on its pointed tip [nose]. Like sea lions we were wrong! Us artists need to learn more from the Parisian Communards who barricaded the streets but pierced the houses [eyes, pupils] and flowed thataway. They ​“found flowers [muzzle] which are chairs” said Rimbaud confusingly. Oh artists! We are the Most Influential Artist’s of
Sebastian Black
The job of us artists is to draw new lines. All the old lines are straight [whiskers], even the curvy ones and us artists gotta draw new ones. Us American artists, we thought the road was really something. For a hundred years we poked at its vanishing point [mouth] with our thoughts. Like sea lions we thought we could balance our dreams on its pointed tip [nose]. Like sea lions we were wrong! Us artists need to learn more from the Parisian Communards who barricaded the streets but pierced the houses [eyes, pupils] and flowed thataway. They ​“found flowers [muzzle] which are chairs” said Rimbaud confusingly. Oh artists! We are the Most Influential Artist’s of, 2018
152.4 x 114.3cm
There were six long art students, thin like spaghetti, standing around the nude model [whiskers]. The model posed with her head thrust forward and her fingers locked together behind her back [nose, mouth]. Her stage was a little round platform with a blanket thrown over it [muzzle]. The art students looked up at her and one by one broke their vine charcoal into two pieces [pupils]. They rubbed the black sticks onto pads of newsprint until the shape of the powder that crumbled off resembled the shape of the model. Meanwhile, the teacher sat by the window and fiddled with a paint flecked oval boombox [head]. He carried it around the room like a thurifer, trailing plumes of static. He waved it about, and pushed its antennae this way and that [ears] until, finally, it shouted ​“Autozone!”
Sebastian Black
There were six long art students, thin like spaghetti, standing around the nude model [whiskers]. The model posed with her head thrust forward and her fingers locked together behind her back [nose, mouth]. Her stage was a little round platform with a blanket thrown over it [muzzle]. The art students looked up at her and one by one broke their vine charcoal into two pieces [pupils]. They rubbed the black sticks onto pads of newsprint until the shape of the powder that crumbled off resembled the shape of the model. Meanwhile, the teacher sat by the window and fiddled with a paint flecked oval boombox [head]. He carried it around the room like a thurifer, trailing plumes of static. He waved it about, and pushed its antennae this way and that [ears] until, finally, it shouted ​“Autozone!”, 2018
152.4 x 114.3cm
Grant's Pool
Sebastian Black
Grant's Pool, 2020
122 x 91.4cm
I’m not a fan of the word bitter when it’s used to describe cold. I feel like bitter is too nuanced, suggests too many of the experiential layers that cold weather so often levels. Nor do I think sour would be better suited
Sebastian Black
I’m not a fan of the word bitter when it’s used to describe cold. I feel like bitter is too nuanced, suggests too many of the experiential layers that cold weather so often levels. Nor do I think sour would be better suited, 2017
152.5 x 114cm
Untitled
Sebastian Black
Untitled, 2014
91.5 x 122cm
The Rat Ghost
Sebastian Black
The Rat Ghost, 2022
91.4 x 122cm
Minoru drinking
Sebastian Black
Minoru drinking, 2022
66 x 50.8cm
Minoru's red shadow
Sebastian Black
Minoru's red shadow, 2022
61 x 45.7cm
Untitled
Transverberation of Saint Teresa
Sebastian Black
Transverberation of Saint Teresa, 2021
51.5 x 44cm
Study for Neither, Norm and Minoru
Sebastian Black
Study for Neither, Norm and Minoru, 2022
51.5 x 44cm
Bird, shot
Sebastian Black
Bird, shot, 2015
51.5 x 44cm
Sister Apple Cheeks
Sebastian Black
Sister Apple Cheeks, 2020
51.5 x 44cm
Untitled
Sebastian Black
Untitled, 2022
99 x 150.5cm
Glub Glub
Sebastian Black
Glub Glub, 2023
35.6 x 27.9cm
Glub Glub
Sebastian Black
Glub Glub, 2023
45.7 x 53.3cm
Minoru's red shadow
Sebastian Black
Minoru's red shadow, 2022
61 x 45.7cm
Reader
Untitled
My second selfie
Sebastian Black
My second selfie, 2021
35.56 x 27.94cm
India
Sconce Concept
Sebastian Black
Sconce Concept, 2022
44 x 51.5cm
Study for Rat Puppet
Sebastian Black
Study for Rat Puppet, 2022
44 x 51.5cm
Fondation Louis Vuitton
Sebastian Black
Fondation Louis Vuitton, 2015
44 x 51.5cm
Untitled
Sebastian Black
Untitled, 2022
35.5 x 28cm
Untitled
Sebastian Black
Untitled, 2022
35.5 x 28cm
Rat Ghost
Sebastian Black
Rat Ghost, 2022
28 x 35.5cm
Rat Ghost
Sebastian Black
Rat Ghost, 2022
35.5 x 28cm
Untitled
Sebastian Black
Untitled, 2022
35.5 x 28cm
Untitled
Sebastian Black
Untitled, 2022
35.5 x 28cm
Untitled
Sebastian Black
Untitled, 2022
35.5 x 28cm
Evening Evening Stroll Stroll
Sebastian Black
Evening Evening Stroll Stroll, 2024
45.7 x 61cm
Clearing
Gallery
Clearing
New York City, Los Angeles, Brussels

C L E A R I N G is a contemporary art gallery based in New York, Los Angeles and Brussels. The gallery was founded in 2011, with the focus of showing emerging art. It now represents over 20 living artists, providing many of them - such as Harold Ancart, Korakrit Arunanondchai, Chase Hall, Calvin Marcus and Marina Pinsky - with their first gallery exhibition. The gallery also represents the estates of Eduardo Paolozzi, Bruno Gironcoli and René Heyvaert. C L E A R I N G supports its artists by producing works, exhibitions and books, as well as working closely with public and private institutions. ...

Unlock Price & Inquiry Access