![The App (2022) is the sole painting in this new body of work to depict two figures together. Their interaction...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/images/feature_panels/image/2943/hemma.jpg)
Oil on canvas
240 x 190 cm (94.49 x 74.8 in)
![Recognisable objects function, in the artist's words, as 'a hook to situate the viewer in reality.' In Figure with Remote...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/images/feature_panels/image/2945/remote-control1.jpg)
Recognisable objects function, in the artist's words, as 'a hook to situate the viewer in reality.' In Figure with Remote Control (2022), discarded fast-food wrappers, a television and Ghenie's signature Nike trainers are the most legible elements of the painting. Together, they contextualise the contemporary landscape of the Digital Era within the domestic setting of the artist's flat.
Figure with Remote Control, 2022
Oil on canvas
205 x 178 cm (80.71 x 70.1 in)
![The only painting in the new body of work to feature a book in place of an electronic device, Self-Portrait...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/images/feature_panels/image/2946/adg_1088_300dpi.jpg)
Oil on canvas
103 x 140 cm (40.56 x 50.11 in)
![The transformative effect of technology on the artist's practice is explored in a number of Studio Scenes. Ghenie replaces the...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/images/feature_panels/image/2949/adg_1076_300dpi.jpg)
Studio Scene 3, 2022
Oil on canvas
205 x 110 cm (80.71 x 43.31 in)
![The glamorous veneer of Warhol’s image is disrupted by textured passages of paint applied and, at points, scraped back by...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/exhibitions/images/feature_panels/2955/adg_1084_300dpi.jpg)
![The glamorous veneer of Warhol’s image is disrupted by textured passages of paint applied and, at points, scraped back by...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/exhibitions/images/feature_panels/2955/adg_1083_300dpi.jpg)
Oil on canvas
140 x 140 cm (55.11 x 55.11 in)
Oil on canvas
140 x 140 cm (55.11 x 55.11 in)
![This innovative drawing technique informs new developments in Ghenie's painting practice. Earlier works are characterised by thick impasto and gestural...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/exhibitions/images/feature_panels/2952/adg_1096_300dpi.jpg)
![This innovative drawing technique informs new developments in Ghenie's painting practice. Earlier works are characterised by thick impasto and gestural...](https://artlogic-res.cloudinary.com/w_1400,h_1400,c_limit,f_auto,fl_lossy,q_auto:good/ws-ropac/usr/exhibitions/images/feature_panels/2952/adg_1093_300dpi.jpg)
This innovative drawing technique informs new developments in Ghenie's painting practice. Earlier works are characterised by thick impasto and gestural swathes of paint applied with a palette knife. In contrast, the recent works take a more linear approach as the medium is applied thinly with a small brush. He compares these works to 'coloured drawings', collapsing clear distinctions between mediums in a style evocative of the figurative works of Austrian artist Egon Schiele.
Study for "Studio Scene 2" 2, 2022
Charcoal on paper
100 x 65 cm (39.38 x 25.6 in)
Study for "Studio Scene" 3, 2022
Charcoal on paper
100 x 65 cm (39.38 x 25.6 in)