Manuel OCAMPO Petrope - 1990 Oil, collage on wood and wooden frame Signed with initials and titled 260.5 x 139 x 6.5 cm Oil, collage on wood and wooden frame ; signed with the initials and titled 102.36 x 57.72 x 2.36 in. The lot is a temporary import. The buyer will have to pay import charges, i.e. 5.5% in addition to the hammer price. The work is in temporary import. The buyer will have to pay import fees of 5,5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European union. Provenance: Fred Hofman Gallery, Santa Monica Acquired from the latter by the current owner FR Manuel Ocampo is a provocateur, a painter who takes transgression as his palette companion. He wants art to disturb. His work is that of a prolific image-maker who throws things in the face of the world in a gesture full of panache and with a talent for the grotesque. Corrosive and delightful, his works collide and fragment, releasing anarchic energy and shaking up the forbidden. The satire is relentless, and all representations of power are the object of burlesque diversion, parodic inversion (and subversion): the forbidden lawns of history, morality and culture are trampled underfoot with refreshing insolence. His paintings are not partisan, nor do they make any particular political claims. They shoot at everything that moves, or rather, at everything that stagnates and becomes ankylosed. They adopt an anarchic and rebellious attitude, always burlesque, made up of mixed universes: Comics, naive art, trash comics, the aesthetics of the ex voto, references to Duchamp, Bacon, images from Christian iconography or political imagery. EN Manuel Ocampo is a provocateur, a painter who takes transgression as his palette companion. He wants art to disturb. His work is that of a prolific image-maker who throws things in the face of the world in a gesture full of panache and with a talent nurtured within the grotesque. Corrosive and delightful, his works collide and fragment, releasing anarchic energy and upsetting the forbidden. Satire is relentless, and all representations of power are the object of burlesque detour, parodic inversion (and subversion): the forbidden lawns of history, morality and culture are trampled underfoot with refreshing insolence. His canvases are not partisan, nor do they make any particular political claims. They shoot at everything that moves, or rather, at everything that stagnates and becomes ankylosed. They adopt an anarchic and rebellious attitude, always burlesque, made up of mixed universes: comics, naive art, trash comics, ex voto aesthetics, references to Duchamp, Bacon, Christian iconography or political imagery. Manuel OCAMPO FR Manuel Ocampo is a provocateur, a painter who takes transgression as his palette companion. He wants art to disturb. His work is that of a prolific image-maker who throws things in the face of the world in a gesture full of panache and with a talent for the grotesque. Corrosive and delightful, his works collide and fragment, releasing anarchic energy and shaking up the forbidden. The satire is relentless, and all representations of power are the object of burlesque diversion, parodic inversion (and subversion): the forbidden lawns of history, morality and culture are trampled underfoot with refreshing insolence. His paintings are not partisan, nor do they make any particular political claims. They shoot at everything that moves, or rather, at everything that stagnates and becomes ankylosed. They adopt an anarchic and rebellious attitude, always burlesque, made up of mixed universes: Comics, naive art, trash comics, the aesthetics of the ex voto, references to Duchamp, Bacon, images from Christian iconography or political imagery. EN Manuel Ocampo is a provocateur, a painter who takes transgression as his palette companion. He wants art to disturb. His work is that of a prolific image-maker who throws things in the face of the world in a gesture full of panache and with a talent nurtured within the grotesque. Corrosive and delightful, his works collide and fragment, releasing anarchic energy and upsetting the forbidden. Satire is relentless, and all representations of power are the object of burlesque detour, parodic inversion (and subversion): the forbidden lawns of history, morality and culture are trampled underfoot with refreshing insolence. His canvases are not partisan, nor do they make any particular political claims. They shoot at everything that moves, or rather, at everything that stagnates and becomes ankylosed. They adopt an anarchic and rebellious attitude, always burlesque, made up of mixed universes: comics, naive art, trash comics, ex voto aesthetics, references to Duchamp, Bacon, Christian iconography or political imagery.