Samuel Gomez (b.1975-) The Glib Scouring, 2017  Acrylic, Charcoal and Ink on canvas  72 x 72 inches.‘The Glib Scouring’ is a commentary perceiving the forces of nature and how the Earth’s indifference prioritizes its own equilibrium to protect itself from its main oblivious enemy ‘us’.Natural disasters, viruses and famine become inescapable evils in the cyclic game of population control. Available at Manolis Projects Gallery
Details of :Samuel Gomez (b.1975-) The Glib Scouring, 2017 Acrylic, Charcoal and Ink on canvas 72 x 72 inches.‘The Glib Scouring’ is a commentary perceiving the forces of nature and how the Earth’s indifference prioritizes its own equilibrium to protect itself from its main oblivious enemy ‘us’.Natural disasters, viruses and famine become inescapable evils in the cyclic game of population control. Available at Manolis Projects Gallery
  • Load image into Gallery viewer, Samuel Gomez (b.1975-) The Glib Scouring, 2017  Acrylic, Charcoal and Ink on canvas  72 x 72 inches.‘The Glib Scouring’ is a commentary perceiving the forces of nature and how the Earth’s indifference prioritizes its own equilibrium to protect itself from its main oblivious enemy ‘us’.Natural disasters, viruses and famine become inescapable evils in the cyclic game of population control. Available at Manolis Projects Gallery
  • Load image into Gallery viewer, Details of :Samuel Gomez (b.1975-) The Glib Scouring, 2017 Acrylic, Charcoal and Ink on canvas 72 x 72 inches.‘The Glib Scouring’ is a commentary perceiving the forces of nature and how the Earth’s indifference prioritizes its own equilibrium to protect itself from its main oblivious enemy ‘us’.Natural disasters, viruses and famine become inescapable evils in the cyclic game of population control. Available at Manolis Projects Gallery

The Glib Scouring, 2017

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Samuel Gomez (b.1975-)
The Glib Scouring, 2017
Acrylic, Charcoal and Ink on canvas
72 x 72 inches


‘The Glib Scouring’ is a commentary perceiving the forces of nature and
how the Earth’s indifference prioritizes its own equilibrium to protect itself
from its main oblivious enemy ‘us’.Natural disasters, viruses and famine become inescapable evils in the cyclic game of population control.

Born in the Dominican Republic, New York artist Samuel Gomez's meteoric rise began with his inclusion in the 2013 ArtPrize Competition in Grand Rapids, MI, his first showing in any public forum. Samuel Gomez received a BFA in 2001 from Parsons School of Design in New York. 

Gomez’s steampunk aesthetic is marked by an extensive usage of universal symbolism and contemporary themes of science, socioeconomics, sustainability, and, prominently, the future of automation and AI. His paintings are of dystopian themes.

The self-proclaimed storyteller's ominous scenes are so dense with imagery and symbolism, they beg the viewer to lose themselves in their interconnected, multi-dimensional depths. Gomez shows a society that has been led astray by corporations, capitalism and over consumption. “I question a world where all events and affairs seem systematic and guided,” says Gomez,