ESCAPE FROM EDEN
Magnus Gjoen
2019
Edition 18 of 80
70 × 70 cm
Archival pigment inks on 310gsm German etching paper
Signed and numbered by the artist
This was one of the first pieces I purchased directly from Magnus himself.
What initially drew me to the work was the extraordinary contrast within the image. Against the darkness of the surrounding landscape, the vivid green angel immediately commands your attention. I found it completely captivating.
But, as with so much of Magnus's work, there is far more to the piece than you first see. The classical imagery, the fractured glass and the contemporary warning graphics create this wonderful tension between beauty and destruction, fragility and danger.
Learning more about the story and thinking behind the work only strengthened my connection to it, and I made the decision to acquire the piece directly from Magnus for my collection.
Escape From Eden remains particularly special to me, not only because of the work itself, but because it represents one of the earliest pieces in my Magnus Gjoen collection.
From The Allun Lewis Collection
ESCAPE FROM EDEN
Magnus Gjoen
2019
Edition 18 of 80
70 × 70 cm
Archival pigment inks on 310gsm German etching paper
Signed and numbered by the artist
This was one of the first pieces I purchased directly from Magnus himself.
What initially drew me to the work was the extraordinary contrast within the image. Against the darkness of the surrounding landscape, the vivid green angel immediately commands your attention. I found it completely captivating.
But, as with so much of Magnus's work, there is far more to the piece than you first see. The classical imagery, the fractured glass and the contemporary warning graphics create this wonderful tension between beauty and destruction, fragility and danger.
Learning more about the story and thinking behind the work only strengthened my connection to it, and I made the decision to acquire the piece directly from Magnus for my collection.
Escape From Eden remains particularly special to me, not only because of the work itself, but because it represents one of the earliest pieces in my Magnus Gjoen collection.
From The Allun Lewis Collection
