Trance Pop ( 2020 - present )
Untitled ( 2018 - 2019 )
Oil and acrylic on canvas
Metallic Bitch ( 2013 - present )
Oil and Acrylic on Canvas
Parody to Chinese Painting ( 2015 - present )
Oil and Acrylic on Canvas
Wood Paintings (Homage to Francis Bacon)
Oil on Wood
Bad Painting,Good Art Series (2017 - present )
Oil on canvas in various sizes
Bad Paintings - A term which coined by Marcia Tucker; This Law Cheuk Yui (Michael Andrew Law)’s signature painting series which inspired by an essay by curator Eva Badura-Triska in for the 2008 show “Bad Painting: Good Art” at the Museum of Modern Art in Vienna , as well as the works of Francis Picabia , Gerhard Richter , Julian Schnabel , Yan Pei-Ming .
Contrary to the Photorealistic paintings earlier in Michael Andrew Law’s earlier career which tried to make painting looks more like a photograph , “Bad Paintings” intended to be more on the side of abstract , expressive and action painting ( Here referencing Jackson Pollack ) so in which image or realistic result not the first priority instead using painting as a gesture to showcase a story , the images just a side effects. Most of the “ Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .
The artist consider this series more of an mixture of Expressive Art, Abstract Art and Pop Art in which acting as a medium of social commentary for the uses of explores humanity subject matters such as Death, Sex, Self, History and Popular Cultures.
Please contact us for availability and price. |
Bad Paintings - A term which coined by Marcia Tucker; This Law Cheuk Yui (Michael Andrew Law)’s signature painting series which inspired by an essay by curator Eva Badura-Triska in for the 2008 show “Bad Painting: Good Art” at the Museum of Modern Art in Vienna , as well as the works of Francis Picabia , Gerhard Richter , Julian Schnabel , Yan Pei-Ming .
Contrary to the Photorealistic paintings earlier in Michael Andrew Law’s earlier career which tried to make painting looks more like a photograph , “Bad Paintings” intended to be more on the side of abstract , expressive and action painting ( Here referencing Jackson Pollack ) so in which image or realistic result not the first priority instead using painting as a gesture to showcase a story , the images just a side effects. Most of the “ Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .
The artist consider this series more of an mixture of Expressive Art, Abstract Art and Pop Art in which acting as a medium of social commentary for the uses of explores humanity subject matters such as Death, Sex, Self, History and Popular Cultures.
Please contact us for availability and price. |
Puro Portrait series
Michael Andrew Law extends his interest in portraiture to create this collection of eighty contemporary icons. The works are oil on canvas with glitter, gold leaf or other inclusions. They are crafted using classical painting techniques and Law's signature blending of old world sensibilities envisioned through modern aesthetics. Throughout time, artists have etched images into the fabric of our history. Law is doing the same in this series. These images will outlive their subjects and their meaning will continue to grow over time. As with previous works and with many old masters, the portraits of celebrities reveal as much about the artist as they do the subjects. The collection includes a non-linear, collage style choice of subjects. They are a mix of Hollywood and music stars, as well as other prominent figures. Modern Art has a pedigree of forebearers who have explored similar approaches to portraiture. Indeed, the work of Roy Lichtenstein, Andy Warhol, Richard Phillips, and Gottfried Helnwein provide the foundation from which this series builds.
This series has Sold Out.
This series has Sold Out.
The history of portraiture begins at the history of man. In fact, hand stencil paintings from as far back as 13,000 years ago initiate our focus on image as meaning. In that example, the hand represents the living person and comes to serve as an icon for humanity. Additional examples include the portrait as we now know it in paintings, sculptures, and tokens. Renaissance and seventeenth century painters believed they could capture the emotional life of a subject through a well composed portrait. Great rulers have commissioned likenesses to serve as a living memory of themselves after death. They commission works to emphasize admirable traits, feats of daring, or important achievements. In all cases, the image becomes the icon of the action and emotion. It replaces the subject in our visually dominant culture.
Law is aware of the history and significance of portraiture, where images become history. This is true even in our digital age. In this collection, he encapsulates the life of each individual into their likeness. The paintings become more than real. They become symbols of the stars as seen through the lens of our times.
This series can be considered in relationship to previous works by Lichtenstein, Warhol, Phillips, and even Helnwein. Lichtenstein enters the art world from an illustrative background, as did Law, and both approach their subjects as representations. They use the image to construct a message and do so in an easily digestible format. Warhol's popular art focuses on the image of cultural icons, as does Law. While Warhol abstracts the image visually, Law abstracts the image mentally. He separates these stars from the pages of magazine or print material and transports them to the studio of an old portrait master. While Law is in line with Lichtenstein and Warhol conceptually, he is visually more like Phillips or Helnwein. Law shares the pictorial style of Phillips and a viewer can imagine these likenesses to have come straight from a large print spread. This compositional choice supports their complicated relationship with mass media. Finally, the clear glorification of the icons references Helnwein's obsession with cartoons. As Helnwein explains, the comic image has an authority over real life, especially when the image is preferable.
One not so well kept secret of the art world is that every portrait reveals as much of the maker as it does the subject. The technique of rendering requires great skill and scrutiny of the physical world, but every detail is filtered through the the mind into the brush. In this series, Law demonstrates his complex relationship to contemporary culture. There is an obvious adoration for beautiful people, but also a highlighting of wit and strength. Each portrait provides an opportunity for Law to navigate his own feelings on popularity and popular movements, which is exceptionally revealing as his art falls firmly within the Pop Realist movement.
The series includes a mix of high & low subjects. There are well known Hollywood actors and Pop stars in addition to figures well known within specific spheres. The mashing of high and low art styles of these works mirrors the collection of populist and political figures. These are the faces of our generation, without regard for their contributions. The subjects are not culled for their importance, but included for the iconography of their image.
The approach and choice of subjects makes it very clear that this series is a commentary of contemporary culture. Yes, it is a tribute to the beautiful people and the rock legends, but it is also a reflection of the apparatus of media presentation. How does one become the image of our age? What is their significance beyond offering their image? The questions are asked and left unresolved. Or rather, the answer is that we have an image hungry populace, and a near manic development of iconic imagery to feed the insatiable hunger.
Law is aware of the history and significance of portraiture, where images become history. This is true even in our digital age. In this collection, he encapsulates the life of each individual into their likeness. The paintings become more than real. They become symbols of the stars as seen through the lens of our times.
This series can be considered in relationship to previous works by Lichtenstein, Warhol, Phillips, and even Helnwein. Lichtenstein enters the art world from an illustrative background, as did Law, and both approach their subjects as representations. They use the image to construct a message and do so in an easily digestible format. Warhol's popular art focuses on the image of cultural icons, as does Law. While Warhol abstracts the image visually, Law abstracts the image mentally. He separates these stars from the pages of magazine or print material and transports them to the studio of an old portrait master. While Law is in line with Lichtenstein and Warhol conceptually, he is visually more like Phillips or Helnwein. Law shares the pictorial style of Phillips and a viewer can imagine these likenesses to have come straight from a large print spread. This compositional choice supports their complicated relationship with mass media. Finally, the clear glorification of the icons references Helnwein's obsession with cartoons. As Helnwein explains, the comic image has an authority over real life, especially when the image is preferable.
One not so well kept secret of the art world is that every portrait reveals as much of the maker as it does the subject. The technique of rendering requires great skill and scrutiny of the physical world, but every detail is filtered through the the mind into the brush. In this series, Law demonstrates his complex relationship to contemporary culture. There is an obvious adoration for beautiful people, but also a highlighting of wit and strength. Each portrait provides an opportunity for Law to navigate his own feelings on popularity and popular movements, which is exceptionally revealing as his art falls firmly within the Pop Realist movement.
The series includes a mix of high & low subjects. There are well known Hollywood actors and Pop stars in addition to figures well known within specific spheres. The mashing of high and low art styles of these works mirrors the collection of populist and political figures. These are the faces of our generation, without regard for their contributions. The subjects are not culled for their importance, but included for the iconography of their image.
The approach and choice of subjects makes it very clear that this series is a commentary of contemporary culture. Yes, it is a tribute to the beautiful people and the rock legends, but it is also a reflection of the apparatus of media presentation. How does one become the image of our age? What is their significance beyond offering their image? The questions are asked and left unresolved. Or rather, the answer is that we have an image hungry populace, and a near manic development of iconic imagery to feed the insatiable hunger.
THE PALE HAIR GIRLS PAINTINGS
About Pale Hair Girls Classic Series:
The Pale Hair Girls series of oil paintings marks Law's early period, starting in 2006. The pieces showcase detailed figures with innocent faces. The cold, icy stares of the young women are surrounded by pop culture shapes and forms, including historical figures and Hong Kong landmarks. These paintings introduce the world of the Pale Haired Girls, the world that extends into later collections. These pieces serve as character studies. They respond to the very real appearance worshipers of Hong Kong's millennial generation and from Law's experience of that cultural perspective. The artist shows us the cult of the new millennium and compels us to join. His seemingly relentless obsession with beauty is actually a subversive jab at the cult of images.
The paintings all include three visual elements that have become Law's signature. They feature a white haired female figure, a large Xizhi Wang calligraphy character, and either glitter or gold leaf adornment. The female figure is actually a form of self portrait, showing the sentiments of the artist as channeled through popular images of his native Hong Kong. The use of the Xizhi Wang calligraphy has several purposes. It is not the language of Hongkonger's and it is removed from local culture. Inclusion of the symbols strengthens the post-war iconography. There is still a strong admiration of the Chinese traditions, but locals distance themselves feom it as other. Law uses the symbols as an encroachment of the other, and as a means of telling his story through a dominant language. The third element gives a self aggrandizing accent. It also adds to the three-dimensionality and allows original works to stand out from printed replicas.
The paintings in this original series are all drawn in studio, with live models. Rather than being merely representational, Law draws from his Surrealist leanings to combine symbol, body and imagined landscape. The pieces each stand on their own, but the depth of their influence increases in series. Rather than a single repeated figure, Law gives us a reoccurring stream of characters. As multiples, these female characters become unique, but manufactured entities.
Pale Hair Girls paintings are inspired by French academic painter and traditionalist William-Adolphe Bouguereau and the Late Great YiFei Chen's romantic realism style. They can be compared to works by classical masters: Caravaggio, Rubens, Titian, and Rembrandt. Caravaggio's chiaroscuro technique is especially influential to this collection and, to a lesser degree, so are Rembrandt's figurative works. Law's use of light and shadow carves into the paintings, creating depth and imagined spaces beyond what the eye can see. His attention to detail gives these characters a place to dwell.
The Pale Hair Girls series of oil paintings marks Law's early period, starting in 2006. The pieces showcase detailed figures with innocent faces. The cold, icy stares of the young women are surrounded by pop culture shapes and forms, including historical figures and Hong Kong landmarks. These paintings introduce the world of the Pale Haired Girls, the world that extends into later collections. These pieces serve as character studies. They respond to the very real appearance worshipers of Hong Kong's millennial generation and from Law's experience of that cultural perspective. The artist shows us the cult of the new millennium and compels us to join. His seemingly relentless obsession with beauty is actually a subversive jab at the cult of images.
The paintings all include three visual elements that have become Law's signature. They feature a white haired female figure, a large Xizhi Wang calligraphy character, and either glitter or gold leaf adornment. The female figure is actually a form of self portrait, showing the sentiments of the artist as channeled through popular images of his native Hong Kong. The use of the Xizhi Wang calligraphy has several purposes. It is not the language of Hongkonger's and it is removed from local culture. Inclusion of the symbols strengthens the post-war iconography. There is still a strong admiration of the Chinese traditions, but locals distance themselves feom it as other. Law uses the symbols as an encroachment of the other, and as a means of telling his story through a dominant language. The third element gives a self aggrandizing accent. It also adds to the three-dimensionality and allows original works to stand out from printed replicas.
The paintings in this original series are all drawn in studio, with live models. Rather than being merely representational, Law draws from his Surrealist leanings to combine symbol, body and imagined landscape. The pieces each stand on their own, but the depth of their influence increases in series. Rather than a single repeated figure, Law gives us a reoccurring stream of characters. As multiples, these female characters become unique, but manufactured entities.
Pale Hair Girls paintings are inspired by French academic painter and traditionalist William-Adolphe Bouguereau and the Late Great YiFei Chen's romantic realism style. They can be compared to works by classical masters: Caravaggio, Rubens, Titian, and Rembrandt. Caravaggio's chiaroscuro technique is especially influential to this collection and, to a lesser degree, so are Rembrandt's figurative works. Law's use of light and shadow carves into the paintings, creating depth and imagined spaces beyond what the eye can see. His attention to detail gives these characters a place to dwell.
純藝術創作 fine art paintings
在決定了白髮系列的人物上的視覺取向後 ,一直也希望擺脫了要抄照片的問 題 ,在開首的創作也是Michael Andrew Law在用朋友充當模特兒去寫生。
但在只畫了約二十張的畫作就幾乎已用了近一年時間,幾乎比畫戴珍珠耳環的 少女的維梅爾還要慢,維梅爾就是因為出貨太慢最後是窮死了的,這個我也有 以此為誡,所以Law當時的結論是寫生是一項很浪費時間的創作方式,尤其是在Law沒 資源的狀況下;所以在沒選擇下也只好用拍照的方法幫助 ,在後來在看過一 系列Richard Prince ,Anselm Kiefer 的畫展後,啟發Law用 顏料印刷 的技術混 合在Underpainting 裏面。
曾聽過Frank Frazetta 可以在沒有模特的狀態下畫出結實的人物結構,Law便 想,反正自己也是畫過很大段曰子漫畫,畫漫畫九成也是要在沒有模特的狀態下 去完成吧,只是信心上的問題已;而這種理論在看過Francis Bacon 的作品 後就更使Law相信 ,畫畫是不該有把一個限制先設定在自已跟前,被喻為英國 最偉大的畫家Francis Bacon 就曾多次於訪問重申他甚少用模特兒寫生 ,他 大多數之畫作反而是用照片來作藍本 ,而且重來不預先作素描 ,1985年他在 LWT電視訪談節目The South Bank Show中,也十分自豪地道 "幸好我沒有進 過美術學院,否則會被強行塞進所謂的繪畫技巧" ,這種想法使Michael Andrew Law 更明白所謂 不設限是多麼重要。
但在只畫了約二十張的畫作就幾乎已用了近一年時間,幾乎比畫戴珍珠耳環的 少女的維梅爾還要慢,維梅爾就是因為出貨太慢最後是窮死了的,這個我也有 以此為誡,所以Law當時的結論是寫生是一項很浪費時間的創作方式,尤其是在Law沒 資源的狀況下;所以在沒選擇下也只好用拍照的方法幫助 ,在後來在看過一 系列Richard Prince ,Anselm Kiefer 的畫展後,啟發Law用 顏料印刷 的技術混 合在Underpainting 裏面。
曾聽過Frank Frazetta 可以在沒有模特的狀態下畫出結實的人物結構,Law便 想,反正自己也是畫過很大段曰子漫畫,畫漫畫九成也是要在沒有模特的狀態下 去完成吧,只是信心上的問題已;而這種理論在看過Francis Bacon 的作品 後就更使Law相信 ,畫畫是不該有把一個限制先設定在自已跟前,被喻為英國 最偉大的畫家Francis Bacon 就曾多次於訪問重申他甚少用模特兒寫生 ,他 大多數之畫作反而是用照片來作藍本 ,而且重來不預先作素描 ,1985年他在 LWT電視訪談節目The South Bank Show中,也十分自豪地道 "幸好我沒有進 過美術學院,否則會被強行塞進所謂的繪畫技巧" ,這種想法使Michael Andrew Law 更明白所謂 不設限是多麼重要。
Pale Hair Girls
Mixed Media on Canvas (Digital and paper college overpainted with Oil , Acrylic , Gold Leaf and Glitter on canvas )
Contact Us for Availability and information of the paintings and prints.
For further inquiries please contact Studio Michael Andrew Law . All images are subject to copyright. Artist approval must be granted prior to reproduction,Copyright © Michael Andrew Law / Law Cheuk Yui ; All rights reserved.
Please contact us for availability and price. |
Contact Us for Availability and information of the paintings and prints.
For further inquiries please contact Studio Michael Andrew Law . All images are subject to copyright. Artist approval must be granted prior to reproduction,Copyright © Michael Andrew Law / Law Cheuk Yui ; All rights reserved.
Please contact us for availability and price. |
Michael Andrew Law's Sketches & Concept Art:
The Sketches & Concept Art Collection include notes and visual studies that precipitated the creation of the collections described. The collection includes over 8000 sketches and concept pieces ranging from charcoals, watercolors, pastels, and even some photographs.
As the collection demonstrates, Law's process interrogates the relationship between paintings and photographs. He utilizes a variety of methods toward that end. The oldest use of photography techniques in traditional painting are the camera obscura. In this case, an image is focused into a dark room. It gives the artist some distance and objective perception. That starting point is similar to Gerhard Richter's approach using photography. He embraces photos as a way to direct his attention. They surprise and inspire him. Law often uses photography toward that end. However, much like Francis Bacon and Norman Rockwell, Law does not always follow the likeness of a photo. He takes the inspiration and allows intuition to have an equal influence. When creating extremely large paintings, on the other hand, photo references can aid the process as spatial markers. Artist Chuck Close creates many large scale paintings and uses photos in that way. Law has done so, as well.
The Sketches & Concept Art Collection include notes and visual studies that precipitated the creation of the collections described. The collection includes over 8000 sketches and concept pieces ranging from charcoals, watercolors, pastels, and even some photographs.
As the collection demonstrates, Law's process interrogates the relationship between paintings and photographs. He utilizes a variety of methods toward that end. The oldest use of photography techniques in traditional painting are the camera obscura. In this case, an image is focused into a dark room. It gives the artist some distance and objective perception. That starting point is similar to Gerhard Richter's approach using photography. He embraces photos as a way to direct his attention. They surprise and inspire him. Law often uses photography toward that end. However, much like Francis Bacon and Norman Rockwell, Law does not always follow the likeness of a photo. He takes the inspiration and allows intuition to have an equal influence. When creating extremely large paintings, on the other hand, photo references can aid the process as spatial markers. Artist Chuck Close creates many large scale paintings and uses photos in that way. Law has done so, as well.
Selected Sketches
For further inquiries please contact Studio Michael Andrew Law . All images are subject to copyright. Artist approval must be granted prior to reproduction,Copyright © Michael Andrew Law / Law Cheuk Yui ; All rights reserved.
For further inquiries please contact Studio Michael Andrew Law . All images are subject to copyright. Artist approval must be granted prior to reproduction,Copyright © Michael Andrew Law / Law Cheuk Yui ; All rights reserved.
Mixed Media on Canvas ( Oil and Acrylic Paintings )
For further inquiries please contact Studio Michael Andrew Law . All images are subject to copyright. Artist approval must be granted prior to reproduction,Copyright © Michael Andrew Law / Law Cheuk Yui ; All rights reserved.
For further inquiries please contact Studio Michael Andrew Law . All images are subject to copyright. Artist approval must be granted prior to reproduction,Copyright © Michael Andrew Law / Law Cheuk Yui ; All rights reserved.
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