That's the rub, right? Either sell to the regular buyer at prices they can afford and the flippers be the crappy flippers, or sell to match market price.Īnd if I understand you correctly that GP should make the money and not the flippers, isn't that just calling GP a flipper? GP should be a seller. But then you will claim that they would be out of the reach of the regular buyer. GP should then just jack up the price to what they are "worth", sell all of them at once with no vault, and no one makes the money except Martin Whatson. For the printer/gallery to do it is just shameful. I hate flippers, but if they buy and lose, it's on them. You ask why should the flippers make the money? Because they are the one's buying the prints. And surprise surprise, I wonder who gets the first crack at the "vault" releases. But GP isn't some exclusive gallery in mayfair of london. And yes, I understand galleries sell to their special customers first. Seems like a conflict of interest in my view. As I previously mentioned, they probably hold 1/3 back for the vault, 1/3 to their "special" friends and 1/3 to the everyday people.Īnd show me another printer/seller that has a "vault". Again.GP "lotteries" seem a lot more rigged than not. I mean, what are the odds that you win a few times and others never win. His original artworks grace private collections and institutional holdings, while solo exhibitions have taken center stage in cities spanning from Tokyo to Los Angeles and London to New 've won a few of GP's lotteries. Martin's work has left an indelible mark on festivals, collaborative projects, and urban walls across the globe. Whether immersing entirely or accentuating a specific detail, these images soon vanish beneath expressive layers of spray-painted strokes, bursting with a medley of colors and textures. True to his signature style, no grayscale space remains untouched in Martin's presence. The monochromatic tones and vacant spaces of his creations pay homage to the artist's alternative canvases-the concrete jungle itself. These minimalist figures are constructed using a few meticulously hand-cut stencils. His compositions often feature delicate and organic subjects, including butterflies, ballerinas, and animals, all set against empty grayscale backgrounds. With an equal presence on both walls and traditional canvases, Martin's art consistently explores the intersection of vulnerability and strength. This evolution brought him closer to an aesthetic that he believed could harmoniously marry the passion and spontaneity of graffiti with the delicate and transient qualities of nature-an equilibrium that came to define his artistic approach. In the early 2000s, Martin's fascination with layers took on a more literal form with the introduction of stencils into his repertoire. This parallel between creative influences and the cityscape's organic evolution is evident in his work, inspired by artists like Jose Parla and Cy Twombly. The physical tapestry of the city served as an enduring wellspring of inspiration, with each generation's elaboration and deconstruction of urban spaces contributing to the city's ever-evolving infrastructure. Hailing from Oslo, Norway, Martin emerged as an active participant in the burgeoning graffiti scene of the early 1990s-a period marked by a stringent zero-tolerance stance on street art. His works serve as a visual metaphor for the ebb and flow of urban life, symbolically recreating the cityscape only to then 'vandalize' it with his vibrant transformations. Over the past decade, Martin has crafted an unmistakable artistic aesthetic that seamlessly blends abstract motion with figurative stenciled compositions. Martin Whatson, born in 1984, is a renowned Norwegian street artist celebrated for his distinctive style characterized by calligraphic scribbles set within grayscale voids. Medium: Original Acrylic and Spray paint on Canvas
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