In the ever-evolving world of contemporary art, the lines between mediums and artistic intentions often blur, giving rise to innovative forms of expression. One such boundary-pushing artist is Michael Andrew Law, whose mixed media painting "A Girl with Tiger Fur with a White Tiger" challenges conventional notions of art and appropriation, drawing inspiration from readymade art, found images, and the work of photographer Jason Lee Parry, as well as incorporating hyper-realistic and classical painting techniques.

Drawing on the rich legacy of artists like Marcel Duchamp and Richard Prince, Law's work explores the line between originality and adaptation. Duchamp's readymades and Prince's rephotographs opened up new avenues of artistic expression by recycling pre-existing objects and images to create new meanings. In a similar vein, Law's "A Girl with Tiger Fur with a White Tiger" borrows from the raw, edgy aesthetic of Jason Lee Parry's fashion photography and transforms it into a captivating narrative of beauty, danger, and surrealism.

The painting features a beautiful young woman, her likeness taken from one of Parry's photographs. In Law's rendition, the girl is immersed in a lush jungle setting, accompanied by a majestic white tiger. The juxtaposition of the girl's delicate beauty with the ferocity of the wild animal challenges the viewer's perception of both the subject and the context. By reimagining Parry's original photograph and situating the girl within a new, fantastical environment, Law imbues the image with a fresh, enigmatic quality.

The use of oil and acrylic in the painting adds depth and texture, further distinguishing the piece from its photographic origins. The rich, vibrant colors create a sense of otherworldliness, while the careful application of paint emphasizes the girl's vulnerability against the untamed backdrop. The tiger fur draped over her shoulders suggests both a connection with the animal and a symbolic transformation, with the girl assuming a role that is both protector and protected.

Notably, Law's technique in "A Girl with Tiger Fur with a White Tiger" reflects a fusion of hyper-realistic and classical painting influences. His attention to detail, evident in the girl's lifelike appearance and the intricate rendering of the surrounding foliage, harkens back to the precise, meticulous approach of classical painters. At the same time, the piece's surrealistic elements and bold use of color showcase the influence of contemporary hyper-realism, resulting in a captivating blend of old and new artistic styles.

Through this artistic intervention, Law raises questions about the nature of meaning and authorship. By appropriating Parry's photograph and re-contextualizing it within the realm of painting, the artist challenges the viewer to reconsider the boundaries between mediums and the power dynamics of image creation. As with Duchamp's readymades and Prince's rephotographs, Law's "A Girl with Tiger Fur with a White Tiger" prompts reflection on the mutable nature of art and the role of the artist in constructing meaning.

Ultimately, Michael Andrew Law's "A Girl with Tiger Fur with a White Tiger" serves as a compelling testament to the transformative power of artistic appropriation and the enduring impact of both classical and hyper-realistic painting techniques. By drawing on the work of Jason Lee Parry and the rich history of readymade and found image art, Law invites viewers to question the nature of originality and engage with a provocative, multilayered narrative that transcends the boundaries of traditional artistic expression.

In 2018, renowned contemporary artist Michael Andrew Law unveiled a dazzling homage to one of his most admired artistic heroes, the celebrated Chinese painter Yifei Chen 陳逸飛. During Law's art student years, he always aspired to reach Chen's level of mastery – a sentiment that is evident in this captivating tribute. Law skillfully reinterpreted Chen's iconic work "Lingering Melodies from the Xunyang River"《潯陽遺韻》 in a glitter and acrylic mixed media painting on a large 200x200 cm canvas. The piece honors Chen's history by incorporating English text recounting the artist's life and achievements, all written in the style of contemporary graffiti.

Yifei Chen: A Prolific Chinese Painter
Yifei Chen (1946-2005) was a prominent Chinese painter renowned for his romantic, realistic style and his ability to capture the beauty of traditional Chinese culture. His works often depict serene landscapes, elegant figures, and historical scenes, reflecting the rich heritage of China. Among his many notable works, "Lingering Melodies from the Xunyang River" stands out as an exemplary piece that showcases Chen's mastery of both technique and emotion.

A Homage in Glitter and Acrylic: Law's "Lingering Melodies from the Xunyang River"
Michael Andrew Law's reinterpretation of "Lingering Melodies from the Xunyang River" is a stunning example of artistic innovation while paying respects to his artistic hero, Yifei Chen. By blending glitter and acrylic, Law adds a contemporary touch to the traditional subject matter, creating an exciting visual experience that bridges the gap between the past and the present. The English text written in graffiti style serves to further deepen the connection between the two artists, celebrating Chen's life and achievements while also showcasing Law's own artistic journey and aspirations.

Marilyn Monroe at Boulevard of Broken Dreams is a captivating painting by contemporary artist Michael Andrew Law, which pays tribute to the Hollywood icon Marilyn Monroe and her unforgettable "skirt scene" from the 1955 movie The Seven Year Itch. The painting not only celebrates Monroe's legendary beauty and status as a cultural icon, but it also draws inspiration from Gottfried Helnwein's famous painting and published poster, also titled "Boulevard of Broken Dreams."

The Inspiration: Marilyn Monroe and The Seven Year Itch
Marilyn Monroe, born Norma Jeane Mortenson, was an American actress, model, and singer who became a major sex symbol in the 1950s and early 1960s. She starred in numerous successful films during her career, but her role as the charming and flirtatious "The Girl" in The Seven Year Itch is arguably her most iconic.

In the movie, Monroe's character stands over a subway grate and experiences a gust of wind that lifts her white dress, revealing her legs and undergarments. This "skirt scene" became one of the most enduring images in Hollywood history and solidified Monroe's status as a sex symbol.

Michael Andrew Law's Artistic Interpretation
In his painting "Marilyn Monroe at Boulevard of Broken Dreams," Michael Andrew Law captures Monroe's enchanting beauty and the magnetic allure of her famous scene. The artist employs a blend of realism and expressionism, with Monroe's features and the folds of her billowing dress rendered in exquisite detail. The background is painted in rich, vibrant colors, highlighting the contrast between the glamorous Monroe and the gritty urban environment.

Law's painting is not only a tribute to Marilyn Monroe and her iconic skirt scene but also an homage to Gottfried Helnwein's "Boulevard of Broken Dreams." Helnwein's painting features an eerie, late-night diner scene with four Hollywood legends - Monroe, James Dean, Humphrey Bogart, and Elvis Presley - seated together, each lost in their own thoughts. The work is a poignant reflection on the fleeting nature of fame and the personal challenges faced by these larger-than-life figures.

By referencing Helnwein's piece in his own work, Law invites viewers to consider the dual nature of celebrity: the glamour and adoration it brings, as well as the personal struggles and vulnerability that often lie beneath the surface. It's a reminder that even the most iconic figures, like Marilyn Monroe, have their own moments of vulnerability and loneliness.

A Timeless Tribute
Michael Andrew Law's "Marilyn Monroe at Boulevard of Broken Dreams" is a powerful artistic tribute to both Marilyn Monroe and Gottfried Helnwein. It captures the essence of Monroe's legendary beauty and charm while simultaneously acknowledging the darker side of celebrity life. The painting serves as a timeless reminder of the enduring appeal of Hollywood's golden age and the complex, multifaceted nature of its icons.

In the end, "Marilyn Monroe at Boulevard of Broken Dreams" is not just a painting, but a testament to the enduring allure of Marilyn Monroe and the power of art to capture the imagination and evoke deep emotions. It's a piece that will continue to captivate and inspire art lovers and movie fans alike for generations to come.

Contemporary artist #MichaelAndrewLaw #羅卓睿, highly acclaimed for his innovative approach to art, has recently revealed a stunning large-scale painting (measuring 180x130 cm) as a tribute to Leonardo da Vinci's most famous masterpiece, the "Mona Lisa." This glittering work of art, which is part of Law's ongoing series "If Julian Schnabel Goes Pop," employs an intriguing mix of diamond dust, glitter, oil, and acrylic paint, breathing new life into the timeless portrait.

Leonardo da Vinci's "Mona Lisa," painted in the early 16th century, is undoubtedly one of the most recognizable and celebrated artworks in history. The enigmatic smile of the woman portrayed, along with the intricate details and subtle sfumato technique used by da Vinci, has captivated the world for centuries.

In his homage to this iconic painting, Michael Andrew Law masterfully combines various mediums, including diamond dust, glitter, oil, and acrylic paint. The use of diamond dust and glitter adds a contemporary and luxurious touch to the classic portrait, reflecting the light in a way that mesmerizes the viewer. This innovative choice of materials emphasizes the ethereal beauty of the "Mona Lisa," while also making a bold statement in line with the "If Julian Schnabel Goes Pop" series.

The oil paint, with its rich and traditional feel, pays respect to the original medium used by da Vinci, as well as the classical painting techniques that have long been associated with portraiture. The acrylic paint, on the other hand, offers versatility and a variety of textures and effects, bridging the gap between conventional and modern artistic elements.

Michael Andrew Law's "If Julian Schnabel Goes Pop" series is renowned for its creative exploration of the intersection between contemporary pop culture and traditional painting techniques. Drawing inspiration from the famous artist Julian Schnabel, the series features daring reinterpretations of iconic images from history and popular culture, reimagined in a fresh and inventive way.

With his sparkling tribute to Leonardo da Vinci's "Mona Lisa," Michael Andrew Law not only honors the significant impact of the original painting but also showcases his innovative approach to art in the "If Julian Schnabel Goes Pop" series. This dazzling piece ensures that the legacy of the iconic "Mona Lisa" continues to inspire and captivate audiences around the world in 2023 and beyond.

受到傑夫·昆斯 (Jeff Koons) 具啟發性且發人深省的「藝術廣告」系列的啟發，羅卓睿 (Michael Andrew Law) 以自己的方式呈現藝術、廣告和流行文化之間的關係，並創作了他的「藝術廣告」系列。羅的系列效仿昆斯的手法，呈現出引人注目的廣告，挑戰藝術表達和商業推廣之間的界限。

在羅卓睿的「藝術廣告」系列中，迷人的女性形象與他的品牌名稱醒目地搭配在一起。這種組合強調了藝術、美、慾望和消費文化在廣告領域中經常相互交織的本質。

該系列是對現代藝術世界商業化的評論，引起人們對藝術家既是創作者又是自己作品推廣者的雙重角色的關注。通過在每個廣告中呈現他的品牌名稱，羅卓睿強調了藝術家的名人地位，將自己定位為創作力量和所提供的產品。

羅卓睿的「藝術廣告」系列延續了傑夫·昆斯作品所開創的對話，激勵觀眾思考在大眾媒體和消費驅動文化主導的時代，藝術、商業以及藝術家角色之間的錯綜複雜關係。

為什麼我們拒絕低價學費教學 ? 
三個理由說明為什麼平價畫班對學生百害而無一利 

在教育和服務為基礎的畫班畫室市場中，價格低廉的競爭對於畫班經營者和學生家長都不利的邏輯科學論據基於下面幾個根據 : 

首先，當畫班經營者僅競爭價格時(即把學費盡量降低)，他們幾乎不可能避免地降低教學服務質量以保持有錢賺的能力(本文會提供全部合情合理合邏輯而有科學根據的理由)。若果大部分畫室同時也這樣做(僅競爭價格+降低教學服務質量)，只會導致畫班市場中的整體服務質量下降，因為畫班經營者需要節省成本、例如:聘請低級資歷、對自己的事業完全沒有要求的教師、減少師資培訓和減少教學質素發展的資源投放，你可能會問為什麼節省成本就必然影響教學質素? 現在就告訴你 …

2，以低價提供教學服務的畫班當然很可能會容易吸引那些首先考慮價格的家長或者成人學生報讀, 而且數量應該不少, 始終錢對絕大部分人來說是一個大問題。但這就直接導致這種畫班畫室擁有龐大數量只繳交低學費的學生們，通常大部分興趣班生意每月也有大概20% - 25%左右的正常流失率，這麼說這種畫班必須要在招生方面純粹以每星期增加學生數量為優先目標，既要補充流失的學生，同時也要擴充生意，這麼說，每一個學生身為一個獨立個體的人類(各自擁有的學習需要和學習目標和題材喜好)也不是他們(畫班)的 *首要考慮*，在這種畫室的角度，學生只是客戶數目。

​

In 2019, contemporary artist Michael Andrew Law embarked on a journey through art history, creating a series of paintings that pay homage to the great masters of the past. Among these works is "Untitled Art History Painting (Willem de Kooning's Woman I)," a large-scale reinterpretation of Dutch-American artist Willem de Kooning's iconic work from 1950. This piece is part of Law's "Julian Schnabel goes pop" series, which began in 2016 and explores the relationship between contemporary and historical art.

The original "Woman I" by de Kooning is a seminal work in the Abstract Expressionist movement, representing a turning point in the artist's career. The painting features a grotesque, abstracted female figure, with a twisted, almost monstrous visage. This distorted representation of the feminine form was a reaction to the social and political climate of the post-World War II era and reflected de Kooning's anxieties about gender and identity.

In his reinterpretation, Law maintains the overall composition of de Kooning's original work but reimagines it using a mix of acrylic and oil paints, glitter powder, and diamond dust. This bold combination of media demonstrates Law's expertise in both traditional and contemporary techniques, as well as his willingness to experiment and push the boundaries of artistic expression. By employing mixed media, Law breathes new life into the classic work, adding a fresh, modern touch to the familiar image.

At 200x200cm, "Untitled Art History Painting (Willem de Kooning's Woman I)" is an imposing work that commands the viewer's attention. Its large scale reflects the importance of size in contemporary art, as artists seek to create immersive experiences that envelop and engage the viewer. This ambitious format also serves to elevate Law's dialogue with art history, physically manifesting the magnitude of the conversation taking place on the canvas.

Law's appropriation of de Kooning's iconic work is a nod to the longstanding tradition of artists drawing inspiration from and building upon their predecessors' creations. This practice dates back to antiquity and has been a vital part of the art world's ongoing evolution. In repurposing "Woman I," Law demonstrates his deep understanding of the history and significance of the original work and uses it as a springboard for his own artistic exploration.

Appropriation art, which involves the incorporation of existing images or objects into new works, has long been a significant force in modern and contemporary art. By engaging with this practice, Law positions himself within a lineage of influential artists who have employed appropriation to challenge conventional artistic boundaries and expand the possibilities of creative expression. Law's choice to reinterpret de Kooning's work is both a testament to his artistic prowess and a strategic move that situates him within the broader context of art history.

Both de Kooning and Law have enjoyed critical and commercial success throughout their careers, with their works being well-received by collectors and critics alike. Though their styles diverge—de Kooning's raw, gestural brushstrokes contrast with Law's polished, mixed-media technique—their shared commitment to innovation and experimentation unites them across time and space.

"Untitled Art History Painting (Willem de Kooning's Woman I)" is a significant work in Michael Andrew Law's oeuvre for several reasons. First, it showcases the artist's technical skill and mastery of various media. Second, it demonstrates Law's deep engagement with the history of art and his desire to participate in a larger dialogue with the great masters. Finally, the painting highlights the enduring relevance and power of appropriation as a creative tool, reminding viewers that the artistic past continues to shape the present and the future.

In 2021, this captivating work found a home in the collection of an art enthusiast from Pentling, Germany, ensuring that Law's imaginative reinterpretation of de Kooning's masterpiece will continue to spark conversation and provoke thought for years to come.

​在一個未來的世界中，米雪加入了未來主義者的網路軍隊，與老練的士兵莎拉一起對抗一家貪婪的公司以及其胖老闆所帶領的邪惡勢力。米雪得到了莎拉的指導，並逐漸成長為一名出色的戰士，目標是摧毀這家公司，阻止它的利益擴張。


當米雪和莎拉帶領他們的團隊對抗公司時，他們發現這家公司一直在進行一個巨大的實驗，目標是製造一隻巨大的外星巨豬武器。這個外星巨豬非常強大，擁有超凡的力量和先進的智能。公司想利用這個巨豬武器來征服敵人，但米雪和莎拉發誓要不惜一切代價阻止他們。

故事發生了轉折，當這隻外星巨豬從公司的實驗室中逃脫，四處造成破壞。米雪和莎拉與他們的團隊必須追蹤巨豬，阻止它繼續造成更多的破壞。然而，他們很快就意識到這隻巨豬不是他們所想像的那種無知的怪物，而是一個有自己思想和復仇心的生物，它想報復那些折磨它的公司。

當米雪和莎拉試圖控制巨豬時，他們也發現自己正在與公司的機器人和無人機軍隊作戰。在一連串激烈的戰鬥之後，他們終於把巨豬逼到了一個陷阱裡，巨豬吃下了一個巨大的漢堡，但這個漢堡的高脂肪含量讓巨豬爆炸，導致巨豬被燒毀。

在事後，米雪和莎拉被譽為拯救城市免於毀滅的英雄。他們發誓繼續對抗公司的貪婪和剝削，並知道這場鬥爭永遠不會真正結束。

結束。

In a dystopian future, a young girl named Michelle joins the futuristic cyber armies to fight against the evil corporation led by a greedy fat boss who seeks to exploit the world's resources. Michelle is mentored by Sarah, a seasoned soldier who has seen the horrors of the corporation's misdeeds.

As Michelle and Sarah lead the charge against the corporation, they discover that the company has been conducting experiments on a giant alien pig. The pig is a formidable foe, with incredible strength and advanced intelligence. The corporation wants to use the pig as a weapon to conquer their enemies, but Michelle and Sarah vow to stop them at all costs.

The story takes a twist when the giant alien pig escapes from the corporation's lab and runs wild in the city. Michelle and Sarah, along with their team, must track down the pig and stop it from causing further destruction. However, they soon realize that the pig is not the mindless monster they thought it was, but a sentient being with a desire for revenge against the corporation that has tortured it.

As Michelle and Sarah struggle to contain the pig, they also find themselves battling the corporation's army of robots and drones. After a series of intense battles, they finally corner the pig in a giant fast-food restaurant, where it devours a giant hamburger. In a bizarre twist, the pig explodes from the burger's high-fat content, killing itself and causing the Pig to go up in flames.

In the aftermath, Michelle and Sarah are hailed as heroes for saving the city from destruction. They vow to continue their fight against the corporation's greed and exploitation, knowing that the battle will never be truly over.

End.

The Batman 1989 movie has had a lasting impact on popular culture, and Michael Andrew Law’s painting “Batman, Joker and Gotham City 1989” is a testament to its enduring influence. Through his use of color, composition, and technique, Law captures the essence of the movie and pays tribute to the iconic characters of Batman, the Joker, and Gotham City.

Law’s painting is 200 cm tall and 200 cm wide, painted in oil and acrylic on linen canvas in an alternative movie poster style. The dominant colors in the painting are blue, golden yellow, and purple, with the Joker as the central figure in the composition. The Batman and Vicki Vale are in the middle lower half of the front row, while the supporting characters such as Commissioner Gordon, Alexander Knox, Alfred Pennyworth, and Alicia Hunt are spread on the back. The composition technique used in this painting was inspired by Alphonse Mucha’s later works, The Slav Epic series, which were some of Law’s favorite artistic heroes.

Law painted this work from a complete black gesso canvas, and then worked on bright monochrome colors before glazing the color layer over it, an Old Master technique that has been used for hundreds of years. The result is a visually stunning and intricately detailed painting that captures the essence of the Batman 1989 movie.

To fully appreciate Law’s painting, it is important to understand the historical context in which it was created. The Batman 1989 movie was directed by Tim Burton and starred Michael Keaton as Batman and Jack Nicholson as the Joker. The movie was a critical and commercial success, grossing over $400 million worldwide and cementing Burton’s reputation as a visionary director.

The Batman 1989 movie also had a significant cultural impact, inspiring a 1992 animated series and a range of toys and merchandise. The movie’s success helped establish Batman as a major pop culture icon and paved the way for a new era of superhero movies.

In creating his painting, Law sought to pay tribute to this important work of art and create a dialogue with it. He drew inspiration from interviews related to The Batman 1989 movie, writings related to the movie, and critics’ interpretations of it, as well as other cultural inspirations related to Batman.

Law’s painting was extremely well-received by critics, collectors, and the public, and it helped to establish his reputation in the art world at large. The print version of the painting was one of the most sought-after alternative movie posters in the market, and Law’s work has been featured in numerous exhibitions and galleries around the world.

In conclusion, Michael Andrew Law’s painting “Batman, Joker and Gotham City 1989” is a stunning work of art that captures the essence of the Batman 1989 movie and pays tribute to its enduring cultural significance. Through his use of color, composition, and technique, Law has created a visually stunning and intricately detailed painting that is sure to delight fans of Batman and lovers of fine art alike.