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Rubik Scream II - Signed Print by Invader 2007 - MyArtBroker

Rubik Scream II
Signed Print

Invader

Price data unavailable

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Screenprint

Edition size: 50

Year: 2007

Size: H 41cm x W 51cm

Signed: Yes

Format: Signed Print

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The value of Invader's Rubik Scream II (signed) is estimated to be worth between £4,600 and £7,000. This screenprint, created in 2007, has been sold 4 times at auction since its initial sale on 29th November 2009. There have been no sales in the last 12 months or in the last five years. The edition size of this artwork is limited to 50.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2020Digard France
December 2019Digard France
May 2018Artcurial France
December 2016Aguttes, Paris France
October 2016Julien's Auctions United States
November 2009De Baecque & Associates Lyon

Meaning & Analysis

The print imitates the techniques used by the pointillist paintings of George Seurat or Paul Signac, both of whom sought to enhance the vibrancy of the colours used in their canvases by juxtaposing different primary colours rather than mixing the paint beforehand. Invader achieves this same effect by juxtaposing, instead of dots of paintings, the faces of thousands of Rubik cubes that he played with. By twisting the cubes, Invader achieves different colour combinations and uses the cubes’ facades as small mosaic tiles to create complexity and give nuance to the depictions.

In this case, the print is a clear homage to the splatter movie Scream II. It was presented for the first time as part of the Bad Men II show at Lazarides in London, where Invader held an exhibition in 2007. For Bad Men, Invader portrayed famous villains who occupy a place in popular culture and cinematic history. (See also: Clockwork Orange, The Shining).

A testament to Invader’s fantastic imagination, this print coalesces together his fascination with popular culture and his formal experimentation with media that allow him to create pixelated aesthetics for his artworks, a style that has become synonymous with his art.

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