Charley Harper had an alternative way of looking at nature. His serigraphs were large expanses of rich color, which gave the viewer a very different perspective on the animal kingdom. A conservationist, as well as an artist, Harper revealed the unique aspects of his wildlife subjects through highly stylized geometric reduction which he coined “minimal realism.” There was a rare and delightful playfulness in Harper’s artwork. There was also a graphic genius. Harper said, “When I look at a wildlife or nature subject, I don’t see feathers, fur, scapulars, or tail coverts—none of that. I see exciting shapes, color combinations, patterns, textures, fascinating behavior, and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of painting: in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe. Wildlife art has been dominated by realism, but I have chosen to do it differently because I think flat, hard-edged, and simple.” Charley Harper’s unique minimalist approach is unmistakable.
4’ x 6’. Hand-tufted wool. Made in India.
If you experience technical difficulties when you look at this herd of zebras on Africa’s Serengeti Plain, please bear with us—the trouble is not in your set. It’s a tropical optical illusion, an equatorial pictorial puzzle of equivocal equinal elements, a stripey smorgasbord of scrambled silhouettes, an amorphous ambulatory aggregation of undulating ungulates: op art on the hoof. How many hooves in the herd? You really want to know? Well, first you have to count the zebras.