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Fu
una"Nangga (Wait)", Contemporary, Deer, Flowers, Peach, Pink, Pastel2023
2023
$2,000
£1,521.71
€1,753.32
CA$2,839.37
A$3,046.14
CHF 1,633.89
MX$36,675.12
NOK 20,597.06
SEK 18,781.67
DKK 13,099.62
About the Item
Fu’una’s “Nangga (Wait)” is a contemporary pastel of a young deer, with large flowers arranged behind it. The pink hue of the deer, the peach background, white lettering, and flowers contain a vibrant feminine presence. The word “nangga,” Chamoru for “wait,” is written across the front in calligraphic lettering. The deer’s head is turned back and its neck exposed, creating a sense of vulnerability. This original drawing shows chromatic aberration around the flowers to mimic digital images. The image is 24 x 18 inches and is mounted on 28 x 22 x .375 inch archival foam board. It is signed on the front lower right, and will ship unframed.
Fu’una (Kameko Branchaud) is a representational artist working in paint, pastel, and murals. Her work centers human and animal subjects and often draws from her experience as an American woman of indigenous Chamuru heritage. Her work attempts to process the polarity of indigenous and diasporic identity, and the interrelated influences of history, power, and heritage on the environment and the psyche. Her pop-realism style draws upon Fauvism, street art, and tattoo culture. Her recognizable palette is indulgent in its vividness and satisfyingly sensory. She has lived in five regions of America and uses photography, drawing, and research to connect with her surroundings.
- Creator:Fu una (1987, American)
- Creation Year:2023
- Dimensions:Height: 24 in (60.96 cm)Width: 18 in (45.72 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Franklin, MA
- Reference Number:Seller: Fu una_Nangga1stDibs: LU500316906632
Fu'una
Fu’una (Kameko Branchaud) is a representational artist working in paint, pastel, and murals. Her work centers human and animal subjects and often draws from her experience as an American woman of indigenous Chamuru heritage. Her work attempts to process the polarity of indigenous and diasporic identity, and the interrelated influences of history, power, and heritage on the environment and the psyche. Her pop-realism style draws upon Fauvism, street art, and tattoo culture. Her recognizable palette is indulgent in its vividness and satisfyingly sensory. She has lived in five regions of America and uses photography, drawing, and research to connect with her surroundings.
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