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The Black Coke 282: enjoy the night [Limited edition artwork] Artwork

Jakob Zaaiman

United Kingdom

Mixed Media, Photo on Paper

Size: 59.1 W x 40.6 H x 0 D in

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$15,750

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About The Artwork

Advertising poster for Coke, highlighting the fact that people have been drinking it since the Mesopotamian era, and possibly the Indus Valley civilisation as well, whichever came first. This is figuratively true, if not literally. The number 282 is a happenstance, as close study of the detail will reveal. There are probably other numbers available as well, but none of them are numerologically significant: this poster has no predictive astrological content. The message, loud and clear, is that there is no message other than to drink as much Coke as you can. Let's go to it. [Part of a limited edition artwork sequence, 1 of only 8] [Notes] My works are portals to strange and disturbing worlds which cannot be reached any other way. [For a more detailed explanation please check my writings online and videos on Youtube.] [All artworks are printed on archive quality oyster paper and then professionally framed, with reinforced backing and museum standard acrylic/Perspex. The framing of the larger works alone costs around $2k. I personally supervise the production of each one.]

Details & Dimensions

Mixed Media:Photo on Paper

Original:One-of-a-kind Artwork

Size:59.1 W x 40.6 H x 0 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

https://medium.com/@jakob-zaaiman Book: https://www.amazon.co.uk/dp/B08D55N268 Magazine interviews: https://artzine.com/articles/the-art-of-jakob-zaaiman-exploring-the-difficult-and-the-disturbing https://issuu.com/arthabens/docs/biennial.ed.vii/64 https://issuu.com/artrevealmagazine/docs/no34 Born 1955 near Etersheim, North Holland. Lives in London and New York. Has also lived in Eastern Europe. Works mainly with photographs, and is interested only in the troubling and disconcerting aspects of life which can be discovered within the ordinary. Each of his artworks is designed to house its own impenetrable narrative; sometimes self-contained; sometimes reaching out to realms beyond itself. ‘Art is a special way to explore strange and disturbing features of life from within a reflective, imaginative, presentational context. Art is more interesting and important than decorative, ornamental craft, which is what most people think proper art is all about. Francis Bacon’s Figure with Meat (1954), for example, is authentic art, whereas da Vinci’s Mona Lisa is merely decorative craft; both share the same presentational medium, yet are worlds apart in their intention. Da Vinci wants you to glory in the realisation and application of his unquestionably sublime technique, whereas Bacon wants you to enter into the mind-distorting world he has discovered. Da Vinci is really only a supreme showman, whereas Bacon is offering you a ticket to god only knows where. I would rather take the ticket.’ Zaaiman does not cite any direct influences, although he feels a great affinity for the sort of mysterious and meaningless photographs often found in obscure textbooks, government publications, religious tracts, strange specialist magazines, and the like.

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