Still life paintings, by their very nature, are static compositions. I’ve been successful at creating the sense of impending action in my contraptions series, but Kiss My A** is the first time I’ve ever depicted my still life subject matter in motion - and I am delighted with the result.
In Kiss My A**, this donkey toy is doing what comes naturally: kicking! (And flinging toy blocks and chocolate candies with abandon.) Notice the word spelled backward by the blocks - sometimes my inner schoolboy needs an outlet!
The staging for Kiss My A** required more engineering than usual. I employed cardboard tubes layered with modeling clay to prop up the donkey and the blocks and also suspended the chocolate with string, which I omitted from the image.
The star of this show is a marvelous 1920s toy called Jack the Kicking Donkey, which has a wooden form, paper lithographed face and body, and metal wheels. This toy was created by Mr. Fisher before he joined forces with Mr. Price to become Fisher-Price.
All Richard Hall prints are limited edition and hand-signed and numbered by the artist.
All of our prints are finished with a coating that protects the print and enhances light-fastness; we use the highest quality pigmented inks with an estimated lifetime of 118 years.
Canvas giclées: Edition of 50 (for all sizes), signed and numbered on the back of the piece. Archivally mounted or stretched and hand-coated with protectant. Framed canvas giclées are hand-framed in our studio with an espresso-colored frame with gold-tone lip. Unframed canvas giclées should not be framed with glass.
Paper giclées: Edition of 250 for 12” x 16” sizes; edition of 125 for 18” x 24”. Printed on high-quality, acid-free paper and comes with a hand-cut mat that fits into a standard-size frame. We recommend that you use a frame with glass to ensure longevity of your paper print.
For 35 years, Richard Hall enjoyed a successful career in fine art, using his talents to explore the opposing worlds of abstract art and traditional still life. But chance intervened when a mischievous toddler added her two-cents worth to one of Richard’s still life settings, prompting Richard to see his work in an entirely new way. READ MORE
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