Escape of the Souls 1989 34x48 - Huge

Year1989

Hand SignedLower Right in Indelible Ink 

Condition Excellent 

Not FramedArtist Preference 

Purchased fromArtist 

Story / Additional InfoAppeared in exhibition at the Olympic Center Museum Exhibition, Seoul Korea 1991. It was stolen amongst a number of other artworks and holograms following the exhibition. It was only one of a few artworks that were recovered later.

Appears on page 174 of the artbook, Alexander written by Edward Lucie-Smith and published by Artbooks International. The artbook was officially released through Rizzoli in 1993. 

Certificate of AuthenticityArt Brokerage 

LID155378

Alexander - United Kingdom

Art Brokerage: Alexander British Artist: b. 1927. Alexander is a British artist, born February 23, 1927 in Westminster, London. Over a career spanning more than a half-century, Alexander (who goes solely by that moniker) has produced his art on three continents, in several styles and mindsets, and in disciplines ranging from sculpting, bronze casting, oil on canvas, holography, and other technically and aesthetically cutting-edge, even futuristic formats. His 33' high, Great Tower at Rutland Waters in Leicestershire, England was, at the time of its installation, thern largest bronze sculpture in the world. Along with creating the world's largest and most "mind boggling" holographic* artworks, in 1986 Alexander created, produced, and scored what would be the world's first holographic movie that could be viewed without the use ofrnanaglyph or polarized 3D glasses. Throughout his career Alexander combined disparate media in an often-disparate manner. His works arern at once jarring in their confluence of what were prior mutually exclusive techniques and reassuring in their graceful (if deliberatelyrn not seamless) conflation of such techniques. Despite his historical roots in European abstraction and clear allegiance to its high-modernist values, Alexander has pushed at the contemporary boundaries of art for the bulk of his career. His work is constantly in question. He has been deemed a neo-expressionist* who works either at or beyond the leading edge of the conceptual*. In this respect, he has confounded the expectations of an audience that characteristically fears the new and the different even as it professes to seek exactly that. Listings wanted.