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312:. He creates hectic narratives of war, crime, sex, celebration and transgressionâin short, every phase that makes up the constant flux of modern life. In recent years a strong autobiographical strain has been evident in his work, which was present only on a subliminal level, if at all, in the earlier work.
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Combas often seems to be offering the work as critiqueâof both the art establishment and society at large. The recent painting âI am greedy manâ features a densely layered jostle of bodies, with the foreground dominated by transparent line figures, the background occupied by monochromatic figures and
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Combasâ own work has always been strongly rooted in depictions of the human figure. The figures are often in wild, violent or orgiastic settings. Usually on large, often unstretched canvases, Combas crowds his flat pictorial space with a teeming proliferation of bodies, street poetry and designs
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the middle ground reserved for two more fully realized figures, one in a business suit and the other muscular and shirtless. They dance in a swirl of text which seems to have no discernible beginning or end but which may be read as: âI am greedy man/ Please shout me babe/
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While Combasâ works often seem to carry an element of shock or confrontation, he insists the images are meant to engage the viewer, and their execution in vibrant color and bold, unfettered line communicate a spirit of
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is long and large.â The lampoon of a society where all are anonymous except in the individual recognition of need and gratification is typical of Combasâ work throughout his career.
339:âprovoke, that is, to trigger a reaction in the spectator only to âinviteâ him, beckoning him in and whispering in his ear âcome over and talk to me, I want to tell you about the
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304:, cartoons and rock music in an attempt to produce a more varied, direct and honest reflection of contemporary society, often satirizing or critiquing its excesses.
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Content in this edit is translated from the existing French
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movement that began in Paris around 1980 as a reaction to the art establishment in general and
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In a biographical note on Robert Combasâ official website the artist asserts his aim is to
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camaraderie that offsets the tendency to overwhelm, in the larger works especially.
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serenade is a lot of pussy/ Pussy gone on the Eiffel Tower/ My
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reminiscent of the compulsive patterning in much folk and
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