What's Love Got To Do With It II - Print Club London
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Ed Burkes Print Club London Painting
Ed Burkes Print Club London Painting
Ed Burkes Print Club London Painting
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Ed Burkes Print Club London Painting
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What’s Love Got To Do With It II

By Ed Burkes
Original gouache on paper painting. Please note, if you would like to purchase this piece framed, these are only available in the float framing style. This is due to the...
Original gouache on paper painting.
Please note, if you would like to purchase this piece framed, these are only available in the float framing style. This is due to the uneven paper edges of these original works on paper, and will also be the best way to show off  every detail and piece of character!
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  • Size: 300 x 400mm |

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Artwork: 300 x 400mm
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    Returns for items in perfect condition can be made within 30 days of your initial order. If you wish to make a return you must inform us in writing within 30 days of making your order. When making a return you must send the item using a fully tracked delivery service and appropriate insurance as we will not be held responsible for items missing or damaged on their return journey. Please note, we cannot accept returns unless you have kept the original packaging and are able to repackage the item securely using this.

    You will be given the option of an exchange or we will refund your payment minus postage. We aim to reimburse you within 14 working days. Items made to order are not subject to returns. For example, any artwork printed to order will be non-returnable. Due to monitor settings colours may vary slightly from the colours you see on screen. However if large variations occur we will advise before shipment.

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ABOUT THE ARTIST

Ed Burkes

‘The pitfalls of language allure to illegibility and it’s articulation that coerces me into painting. My engagement with making images is based on feeling, and my work is anchored around expression as a confoundingly slippery pursuit. Dualities are something I often use as a tool to develop works, I enjoy the mischief that this stirs up. When the protagonist is also the lover, there is an arm bending going on where the notion of a contradiction neutralizes itself. This slows the work down to a point where in this instance, the gaze of the two are the same. I paint feelingly and painting helps me construct a response, I’m not trying to pin my work down to a specific thought or sensation, it’s a patchwork blanket. The work is definitely anchored around that inability to articulate, or at least the attempt to articulate. Because That’s what so seductive about painting for me, it comments on feeling.

 

The work is a snapshot that holds its own doggedness, and I hope there is some honesty in that.’

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