Some of the best art on a wall is whatever passes it. Passing Through the Gallery finds two riders on a green motorcycle rolling along a long gray concrete wall in St. Louis in late, warm sun. The wall is a collaboration between ICR Crew and LAWS Crew: a painted comic-book figure leans out at left, a swirl of gold and blue lettering fills the center, a tower of green and violet letters rises at right, and a cloud of painted bats gathers in the top corner.
The eye lands first on the riders, the only living, moving subject, and on the green shirt and green bike, which pick up the green in the lettering behind them. From there the wall's rising line carries the eye past the white crew logo at center to the bats in the upper corner, while a brick building and a rusted truss bridge at left tie the frame to its place. The riders are small enough that the wall stays the setting and large enough that the picture is clearly about them.
This is Henri Cartier-Bresson's instinct for a figure crossing a prepared stage at the right instant, with Ernst Haas's saturated color doing the rest: gold, blue and violet against a quiet gray wall.
Design & Styling
Passing Through the Gallery suits bars and taprooms, garages and motorcycle shops, dealership lounges, game rooms, and loft interiors that want a wide, energetic piece with a human story in it. The 16:9 proportions sit naturally above a sofa, a bar back wall, or a long credenza, and a charcoal or warm gray wall lets the color carry the room.
Curated Pairings
To build a wall around this piece, consider these companion pieces:
For the same wall: Pair with Pearl and Gold, the other end of this painted wall, with a pearl Silverado parked before the gold lettering and the Gateway Arch glimpsed far down the bridge.
For the figure before the art: Pair with Where She Paused, a woman pausing beside a sculpted marble bust, the same conversation between a living figure and art that someone made.
For movement through the city: Pair with Exit 280, St. Louis traffic in streaks of light on Interstate 64, another picture of motion through the same city seen at a different hour and speed.
Fine Art Presentation
Available as an open edition print, unsigned and unnumbered, in ChromaLuxe® Metal (gloss, semi-gloss, or matte), Glossy Anti-Glare Acrylic (TruLife), canvas, wood, and archival paper (framed or unframed). ChromaLuxe® Metal (gloss) is the recommended presentation: the saturated lettering and the green of the bike depend on the brightness and crisp edges metal delivers. Glossy Anti-Glare Acrylic (TruLife) is the alternative for a piece hung opposite windows, and framed archival paper gives a quieter, more traditional read.
Note: Custom and oversized photographic prints are available. Please contact the studio directly to discuss custom framing, matting, or specialized museum glass options.
Some of the best art on a wall is whatever passes it. Passing Through the Gallery finds two riders on a green motorcycle rolling along a long gray concrete wall in St. Louis in late, warm sun. The wall is a collaboration between ICR Crew and LAWS Crew: a painted comic-book figure leans out at left, a swirl of gold and blue lettering fills the center, a tower of green and violet letters rises at right, and a cloud of painted bats gathers in the top corner.
The eye lands first on the riders, the only living, moving subject, and on the green shirt and green bike, which pick up the green in the lettering behind them. From there the wall's rising line carries the eye past the white crew logo at center to the bats in the upper corner, while a brick building and a rusted truss bridge at left tie the frame to its place. The riders are small enough that the wall stays the setting and large enough that the picture is clearly about them.
This is Henri Cartier-Bresson's instinct for a figure crossing a prepared stage at the right instant, with Ernst Haas's saturated color doing the rest: gold, blue and violet against a quiet gray wall.
Design & Styling
Passing Through the Gallery suits bars and taprooms, garages and motorcycle shops, dealership lounges, game rooms, and loft interiors that want a wide, energetic piece with a human story in it. The 16:9 proportions sit naturally above a sofa, a bar back wall, or a long credenza, and a charcoal or warm gray wall lets the color carry the room.
Curated Pairings
To build a wall around this piece, consider these companion pieces:
For the same wall: Pair with Pearl and Gold, the other end of this painted wall, with a pearl Silverado parked before the gold lettering and the Gateway Arch glimpsed far down the bridge.
For the figure before the art: Pair with Where She Paused, a woman pausing beside a sculpted marble bust, the same conversation between a living figure and art that someone made.
For movement through the city: Pair with Exit 280, St. Louis traffic in streaks of light on Interstate 64, another picture of motion through the same city seen at a different hour and speed.
Fine Art Presentation
Available as an open edition print, unsigned and unnumbered, in ChromaLuxe® Metal (gloss, semi-gloss, or matte), Glossy Anti-Glare Acrylic (TruLife), canvas, wood, and archival paper (framed or unframed). ChromaLuxe® Metal (gloss) is the recommended presentation: the saturated lettering and the green of the bike depend on the brightness and crisp edges metal delivers. Glossy Anti-Glare Acrylic (TruLife) is the alternative for a piece hung opposite windows, and framed archival paper gives a quieter, more traditional read.
Note: Custom and oversized photographic prints are available. Please contact the studio directly to discuss custom framing, matting, or specialized museum glass options.
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