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36”x38” Mixed media on canvas
Janz has been painting and cutting his iconic images onto the streets of New York City, since the 1980s.
His Bisonmen figures relate to an ongoing saga of wandering and pilgrimage, a story of returning back to the origins of humanity and art.
Janz creates his art using illegally placed advertisements, throughout New York City. His message is that, “We are inundated with images that are pretty and telling us to buy these shoes or buy this lipstick. To buy, buy, buy. My idea is to say bye, bye. Bye, bye to the stale and cliche. I want to put up work that expresses a different point of view. My point of view is that these are singers, they are singing out. It is a requim for our treatment of planet earth. They are witnesses to how we are behaving.” Robert Janz, 2018
These Singer Chorus Street (SCS) pieces, are the first Janz has reclaimed from the street. Each piece has been removed from the street by Janz and is hand signed and numbered, in order of reclaiming. These one-of-a-kind pieces are a must have for any street art collector and are available exclusively here.
Janz makes each piece on the street, using the current energy and sounds of the environment. He cuts into cliche advertising images, pasted illegally all over New York City. With these works, Janz creates a new perspective. One that says bye, bye to buy, buy. The Singer ChorUS are witnesses to how we treat our earth.
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Janz’s work is an exercise in transience, a Buddhist principle that everything changes. Without photography, most people would not know about his work. Janz's water glyphs are made to disappear and transform before the viewer's eyes. The evaporation is part of the process and story.
Robert Janz was born in Belfast, Ireland in 1932. He is one of Ireland’s most celebrated living artists, with an international reputation stretching from Los Angeles to New York, London, Madrid and Dublin.
For the last 40 years, New York City has been Janz’s canvas. His iconic Bisoman and Chorus Singers are cut and painted, into corporate advertising posters, illegally posted on the street. Janz’s outdoor work is a study in transience, as it typically gets pasted over with the next advertisement poster.
The bottom image is Janz in 1980, at the Berlin wall. Berlin was a divided city, barricaded, scarred and the air was full of tension. Janz ran up to the wall and drew an image of a tight fist, with charcoal. The following day sleet and snow had washed away most of the charcoal. Janz redrew the fist with the fingers slightly opened. He then returned for the next 20 days, to animate the fist slowly opening. On the last day, his hand was fully open as an image of hope and relaxation of tension.