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    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018
    Open a larger version of the following image in a popup: Dale Lewis, Vice versus, 2018

    Dale Lewis Essex, Reino Unido, b. 1980

    Vice versus, 2018
    Oil, acrylic and canvas / Óleo, acrílico sobre tela
    200 x 170 x 3.5 cm
    78 3/4 x 66 7/8 x 1 3/8 in
    © 2018 Dale Lewis / Cortesía Fundación AMMA

    Further images

    • (View a larger image of thumbnail 1 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 2 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 3 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 4 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 5 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 6 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 7 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 8 ) Zhengjie Feng, China 2005 Num. 24, 2005
    View on a wall
    Read more

    Una mujer desnuda, solamente calzada con botas altas, yace con aire agónico entre los brazos de un hombre vestido como un motorista, de negro. Ambos fuman. Ella tiene marcas de sangre en la piel. Los acompañan un gato y un cuervo. La ubicación es ambigua, ya que los adoquines que distinguimos en el suelo parecen transformarse en árboles −secos y también grises− en el fondo.


    Mediante una narrativa sarcástica y absurda que raya en lo grotesco, Lewis aborda los dramas humanos cotidianos que se desarrollan en los entornos urbanos actuales. Su pintura está influenciada por el drama compositivo de la pintura medieval y renacentista, donde el plano es dominado por el entrelazamiento de cuerpos y marcado por símbolos emblemáticos del pecado, la virtud y el estatus.

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