Michael Andrew Law Cheuk Yui 羅卓睿

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 155×155 cm. Elizabeth Taylor faces the viewer in a head-and-shoulders pose, her features modeled with grey and black Ben-Day halftone dots. A rough white gestural halo rings the portrait against solid black, with long thin white drips falling from the lower edge. A vertical column of five hand-painted Chinese characters sits at the right; a single faint pale-yellow vertical line appears at the far left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey Ben-Day dot portrait, white gestural halo and drips, built through halftone-dot portraiture with expressive white overpainting and hand-painted calligraphy. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. We sell this unmounted for this price, there is a "add a frame" option, Singulart can arrange framing done after the artwork shipped to your city and then ship to your address after framing is done. Unique hand painted work on Black Gesso canvas with multiple thin white paint layers, tribute to Andy Warhol as it's based on the same photograph Warhol used for his Elizabeth Taylor painting / edition series.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 200×160 cm. Marilyn Monroe turns over her bare shoulder toward the viewer, wrapped in a large white fur stole against a dark dripping ground. A translucent golden-yellow triangle filled with dark Ben-Day dots occupies the upper left; a smaller magenta triangle with dots sits at the right, cut by two sharp neon-pink diagonal lines. Fine white splatters cluster along the bottom edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as black charcoal ground, grey-white figure, golden-yellow and magenta Ben-Day fields, neon-pink lines, built through monochrome figure painting with Ben-Day dot overlays and hand-painted neon diagonals. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×160 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted. No Editions available yet. *This Canvas with full margins 170 x 215 cm for up to 2.8 cm thick gallery wrapped canvas stretcher, contact Singulart for framing and stretcher choices. **All the yellow colours seen here, is actually in Metallic / iridescent Gold color professional artist Paint , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, Ben Day dots effect are created with artist self-made stencil. Referencing a photograph the night film star celebrity Marilyn Monroe wear a fur coat and won Golden Globe for her role in famous Hollywood movie Some Like it Hot.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 158×158 cm. A greyscale Marilyn Monroe portrait with blonde curls and a slight smile fills the center. The upper ground is hot pink with a metallic gold diagonal band at the top left; the lower half is dark charcoal. Thin bright yellow diagonal lines cross the upper field, and large lavender-pink Ben-Day dot clusters sit at the right with smaller dots at the left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as hot pink upper field, charcoal lower ground, metallic gold band, yellow diagonals, lavender-pink Ben-Day dots, built through greyscale portrait over color-block ground with Ben-Day dots and painted neon-like lines. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. We are happy to offer a discount to help offset your framing costs. Furthermore, we always welcome your proposals, so feel free to make us an offer. : ) Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted. Limited Edition prints also available. **All the yellow colours seen here, is actually in Metallic / iridescent Gold color professional artist Paint , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, Ben Day dots effect are created with artist self-made stencil. Referencing the iconic Andy Warhol's famous film star Marilyn Monroe with roy lichtenstein style of Ben Day dot.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 158×158 cm. The Mona Lisa appears soft-focused in grey-white tones at the center of a saturated teal field. Metallic gold diagonal bands slash the top left, top right, and bottom right corners, with fine gold splatters scattered across the surface. Clusters of metallic gold and black Ben-Day dots overlap her hair and the background. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as teal ground, grey-white figure, metallic gold bands and Ben-Day dots, built through airbrushed monochrome figure on solid color field with stenciled gold lines and Ben-Day overlays. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted Acrylic and Oil on canvas painting. One of a kind. *This Canvas with full margins 170 x 170 cm for up to 3 cm thick gallery wrapped canvas stretcher, Please contact Singulart for framing and stretcher choices. **All the yellow colours seen here, is actually in Metallic / iridescent Gold color professional artist Paint , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, start from black gesso ground and many many thin coat of white paint layers, Ben Day dots effect are created with artist self-made stencil. Referencing a portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 158×158 cm. A veiled woman cradles a child, both rendered in high-contrast white and grey against a textured charcoal-black ground. A large hazy yellow halo with a yellow Ben-Day dot grid surrounds the woman's head. Sharp yellow and black diagonal graphic bands cut the lower corners, with small red flecks at the bottom edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal-black ground, white-grey figures, yellow halo and Ben-Day dots, red accents, built through monochrome figurative painting with spray-like yellow halo, Ben-Day overlay, and hard-edged corner bands. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. A Unique Hand Painted Acrylic and Oil on canvas painting. One of a kind. *This Canvas with full margins 170 x 170 cm for up to 3 cm thick gallery wrapped canvas stretcher, Please contact Singulart for framing and stretcher choices. **All the yellow and green colours seen here, is actually in Metallic / iridescent Golden professional artist paint and resin , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, start from black gesso ground and many many thin coat of white paint layers, Ben Day dots effect are created with artist self-made stencil. This Pop Art Referencing a painting by William-Adolphe Bouguereau's La Madone aux Roses.

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×282 cm. Three tall panels each show a high-contrast monochrome woman in motion against dark brown-black grounds. Neon blue and pink radiating lines, thick orange diagonal chevrons, and yellow Ben-Day dot halos layer over the figures. White gestural splatters, small yellow silhouette figures, and a red square seal appear in the center panel's lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as dark brown-black grounds, monochrome figures, neon blue and pink, orange bands, yellow Ben-Day dots, built through high-contrast figures on dark grounds with hand-painted neon geometry, Ben-Day patterns, and splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×282 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please note this is a three panel painting. They are 3 separated canvases For storing in better quality and safer / more economic shipping reason and We selling these without stretchers, Each canvas full margins is 108x108cm. Unique Hand Painted work; the turquoise / sky blue color, Gold yellow color and some of brown color are painted with Metallic / iridescent paint, in which are very shiny and contain a metallic laser like look, a portion of Gold also painted with Glitter powder which are absolutely spectacular in real and cannot reproduce in photograph, based on a banned Youtube video clip of the same name, a female figure in Lichtenstein Pop art Ben day dot style, black and white and bright colorful painting, Toon girls are original comic character created by Michael Andrew Law which are hand printed with hand made silkscreen .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×240 cm. A long-haired woman in profile sits on a modern chair sipping from a small cup against a creamy off-white ground. To her left, a low table holds a vase of flowers, teapot, and cup in soft grey-white haze. The right half is dominated by bold black calligraphic strokes with heavy vertical drips; a small red square seal sits upper left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as off-white ground, smoky grey still life and figure, black ink strokes, red seal, built through soft blended grey-white figure and still life with expressive black calligraphy and controlled drips. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×240 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Base on the visual style of of Ancient East Asian ink brush painting which uses black ink, such as that used in East Asian calligraphy, in different concentrations. A composition base on David Hockney's 1971 expensive auction price artwork Portrait of Sir David Webster, Michael Andrew Law painted portrait of controversial sexy fashion photographer Chen Man ( 陈漫 b.1980 ) sit on the chair instead of Sir Webster, also featuring Gu Jingzhou's expensive record breaking auction price zisha pottery on the coffee table. The Big Calligraphy Asian word on the right means " Love ", calligraphy taken from iconic calligrapher Wang Xizhi's expensive engraved art . The Artist official stamp on upper left corner, signed.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 155×155 cm. Madonna in a lace wedding dress looks directly at the viewer from the chest up against broad beige, grey, and black gestural brushwork. White serif lettering reads "madonna" with "like a virgin" in a small blue-tinted box below. White and grey splatters, vertical drips, and loose scribbled marks fill the lower canvas. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey monochrome figure, beige gestural strokes, blue lettering accent, built through high-contrast monochrome portrait with hand-painted album typography, splatter, and drips. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Limited time offer. Referencing Like a Virgin is the second studio album by American singer and songwriter Madonna, the cover sleeve and images were shot by Steven Meisel, who would become a regular collaborator with Madonna, in a suite at the St. Regis Hotel. #madonna #queenofpop #madamex #madonnafans #s #madonnafamily #madamextour #music #madonnacollection #madonnafan #icon #mdna #gay #queen #love #iconic #madonnamusic #pop #likeavirgin #rebelheart #vogue #fashion #madonnacollector #instagay #legend #michaeljackson #popmusic

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 150×209 cm. A narrow hot-pink vertical band at the left shows faint Ben-Day dots and white splatters beside a square monochrome panel. Madonna in a white lace dress glances over her shoulder on a dark gestural ground with painted "madonna" and blue "like a virgin" text. White scribbled marks and long vertical drips run from the dress hem downward. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues hot pink beside the near-monochrome figure. On the canvas, the colour reads as hot pink side panel, black-grey ground, monochrome figure, blue and white typography, built through diptych layout with Ben-Day pink field and dark-ground portrait with hand-painted text and drips. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 150×209 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Welcome to make us an offer, name your price and we will work out a deal together : ) Two canvas panels (Left 60x150CM and right 150x150CM) Unique hand painted work on Black Gesso canvas with multiple thin white paint layers, All the Blue colours seen here, is actually Metallic turquoise Paint , photograph doesn't do its justice here . We selling both canvases rolled up in tube for economic and safer transportation, Sigulart will provide framing option. Referencing hand painted Ben Day Dot of Roy Lichtenstein Like a Virgin is the second studio album by American singer and songwriter Madonna, the cover sleeve and images were shot by Steven Meisel, who would become a regular collaborator with Madonna, in a suite at the St. Regis Hotel.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 70×60 cm. A nude ballet dancer balances en pointe with one leg extended horizontally back and arms curved overhead, head tilted upward. She is painted in luminous grey-white against a deep violet and lavender field streaked with black vertical drips. Fine white and pale gold speckles mist across the entire surface like scattered sparks. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues violet purple beside the near-monochrome figure. On the canvas, the colour reads as deep violet and lavender field, black drips, grey-white figure, white and gold speckles, built through grey-white figure on gestural purple ground with vertical drips and fine flicked speckle. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×60 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, This purple color piece Base on a found photograph featuring world famous ballerina Ballet dancer Daria Ionova, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×70 cm. A greyscale woman in a visor, tank top, and shorts runs in profile toward the left across a white ground. A large explosive yellow and orange splatter mass at the right contains hand-painted white text reading "GET OUT and RUN!!". Grey, black, and pink vertical drips and scattered orange droplets line the bottom edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as white ground, greyscale runner, yellow-orange splatter field, pink and grey drips, built through soft greyscale figure with expressive splatter burst and hand-painted white lettering. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork is unmounted and will sent in tube rolled up, you can choose stretcher and framing option on this page. Rare Michael Andrew Law Gallery grade Fine Art Painting, Sports and uplifting painting, words on the background with very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart. Base on a found photograph of a runner with a handwritten tag line of Get out and run.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×70 cm. A greyscale ballerina performs a high leg extension en pointe, arms raised, facing left in leotard and dark tutu. A broad blue and cyan wash splashes behind her on a beige ground with blue splatters at the sides. Translucent bubble-like shapes with hot pink, yellow, and lime-green glowing outlines float to her right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as beige ground, monochrome figure, blue-cyan washes, iridescent pink-yellow-green outlines, built through realistic greyscale dancer with expressive blue splashes and translucent colored-outline overlays. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Depict the image of world famous ballet dancer Misty Danielle Copeland dancing *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; For this listed price: this artwork is unmounted and will sent in tube rolled up, you can choose stretcher and framing option on this page. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×70 cm. A near-black male silhouette leans over a grey-white female figure arched backward in a dance embrace on a white ground. Large yellow and orange splatters and drips dominate the right side, with black paint dripping from the figures' lower bodies. A thin neon-pink line follows the woman's back amid subtle grey Ben-Day dot washes. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as white ground, black silhouette, grey-white figure, yellow-orange splatters, neon-pink line, built through silhouette and greyscale figure with paint splatters, drips, Ben-Day texture, and neon outline. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. For this listed price: this artwork is unmounted and will sent in tube rolled up, you can choose stretcher and framing option on this page. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; Michael Andrew Law Gallery grade Fine Art Painting, orange yellow dominated with black and white expressive dancing picture, very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×70 cm. A woman in a flowing translucent white gown plays a solid black grand piano in profile, head tilted back. Large blue washes and splatters surround the figure and drip toward the bottom on a white ground. A soft circular yellow and pink spray glow sits in the upper right corner. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as white ground, blue washes, black piano, grey-white figure, yellow-pink spray accent, built through ethereal grey-white figure and black piano silhouette over blue gestural splashes and spray paint. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; For this listed price: this artwork is unmounted and will sent in tube rolled up, you can choose stretcher and framing option on this page. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart. Base on a viral YouTube video of famous pianist Lola Astanova.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 60×70 cm. A greyscale woman in profile blows a saxophone at the center of a rough-edged deep blue-grey rectangular block on a cream ground. Blue splatters and black drips run from the block's bottom edge. Small pink, yellow, and red splatter flecks scatter across the surrounding cream field. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as cream ground, blue-grey textured block, greyscale figure, pink-yellow-red splatter accents, built through smooth greyscale portrait within a heavy gestural blue field with splatters and drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; For this listed price: this artwork is unmounted and will sent in tube rolled up, you can choose stretcher and framing option on this page. Rare Michael Andrew Law Gallery grade Fine Art Painting, a Lady playing saxophone in Blue main color with Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. An elderly woman with short wavy white hair and glasses looks slightly right in detailed grey-scale portraiture against a near-black ground. Large black Chinese characters for "Grandmother" span the right, with small blocky yellow capitals spelling "GRANDMOTHER" beside them. Vertical drips, lighter grey brushwork at the left, and fine gold-toned splatters cover the surface. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white portrait, black calligraphy, yellow text, gold splatters, built through realistic grey portraiture with gestural calligraphy, vertical drips, and fine gold splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Production Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . A Unique Hand Painted artwork. This Canvas with full margins 220x220cm for up to 6 cm thick gallery wrapped canvas stretcher. Technical Note:This painting painted with classical painting technique and with thin glaz of metallic holographic pigment, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . The chinese-calligraphy on top right reads: " Grand-Mother" with english word Grandmother in the middle. A very personal work, portrait of the artist's Grandmother, painted for the 10 years anniversary of her passing ; It's part of Artist's personal collection, “ I am fine with keeping this for the rest of my life” in his own words.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×250 cm. A seated woman in translucent white profile faces left beside a darker, more obscured facing figure on a dark olive-brown ground. Heavy white splatters, drips, and gestural strokes partially veil both forms; Ben-Day dot texture shows on the seated figure. Red seals sit upper left and lower right with a yellow signature lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as dark olive-brown and black field, translucent white figures, grey-white splatter, red seals, built through translucent white-on-dark figurative painting with splatter, drips, and integrated Ben-Day dots. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×250 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Note:Painted in Metallic paint and glitter, looks spectacular and Extremely shiny if you stand in front of the work, photo reproduction doesn't do it justice This canvas with full margins was about 300cm W x 220cm H , its up to you if you want to stretch it full size, The artist painted on an 250 x 200 cm stretcher. There are two rare Stamp mark of "Michael Andrew Law" by the artist Ruan Lingyu also known by her English name Lily Yuen, was a silent film era actress. One of the most prominent international film star of the 1930s, her exceptional acting ability and suicide at the age of 24 led her to become an icon of world cinema.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Marilyn Monroe laughs while pressing down her billowing white dress over a dark subway grate rendered as rows of white dashes. She glows in bright white and grey against a charcoal ground with white splatters, architectural line hints, and long vertical drips. Small yellow-gold dots scatter through the dark field; a thin red diagonal line crosses the lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal-black ground, luminous white-grey figure, yellow-gold dots, thin red line, built through high-contrast white-on-black figure with gestural splatter, drips, and dotted grate detailing. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Commissioned artwork for a long time collector of Michael Andrew Law. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . A Unique Hand Painted artwork. This Canvas with full margins 220 x 220cm for up to 6 cm thick gallery wrapped canvas stretcher. Based on a painting inspired by Hollywood icon Marilyn Monroe in her famous "skirt scene" from the movie The Seven Year Itch painted by artist Godfried Helnwein. An unrestored poster that displays signs of use. May include light edge or handling wear, slight corner bumps, wrinkles and/or creases, and minor tears. Please see full-color, enlargeable image above for more details. Rolled, Fine/Very Fine.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. The same subway-grate pose appears in luminous grey-white with skirt lifted against a dark gestural ground of splatters and vertical white drips. Large black calligraphy at upper right is overlaid with metallic gold characters; white cursive "Marilyn Monroe" and "590 Gallery Michael Andrew LAW" appear at the sides. A bright red lip print sits at the left amid scattered gold speckles. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-grey ground, white-grey figure, black and gold calligraphy, red lip accent, gold speckles, built through monochrome figure on expressive dark ground with layered calligraphy, text, and metallic splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . A Unique Hand Painted artwork. This Canvas with full margins 220 x 220cm for up to 6 cm thick gallery wrapped canvas stretcher. Based on a painting inspired by Hollywood icon Marilyn Monroe in her famous "skirt scene" from the movie The Seven Year Itch painted by artist Godfried Helnwein. An unrestored poster that displays signs of use. May include light edge or handling wear, slight corner bumps, wrinkles and/or creases, and minor tears. Please see full-color, enlargeable image above for more details. Rolled, Fine/Very Fine.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 155×155 cm. Marilyn Monroe sits in a white tutu with hands near her chin, painted in white and grey against a dark textured ground. A large white Chinese character dominates the upper left with a smaller black character below it. A vivid red lipstick kiss mark sits at the right amid vertical white drips and scattered gold metallic splatters. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues acid green beside the near-monochrome figure. On the canvas, the colour reads as dark grey-black ground, white-grey figure and calligraphy, red lip mark, gold splatters, built through painterly grey-white figure with left-side calligraphy, vertical drips, and metallic splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. A pastiche of Milton H Greene’s The Ballerina Marilyn Monroe Sitting 2 Mixed Media (Oil and Acrylic / Glitter on Canvas) 155x155cm Most of the “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 155×155 cm. Marilyn Monroe in a white dress sits looking toward the viewer in ghostly white and grey tones. Large white and smaller black Chinese characters occupy the right beside a bold red lipstick-mark motif. Long vertical white drips descend from the dress while gold-yellow speckles scatter across the dark hazy background; thin white script signatures line the left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues acid green beside the near-monochrome figure. On the canvas, the colour reads as dark hazy ground, ethereal white-grey figure, white and black calligraphy, red lips, gold speckles, built through layered translucent figure with right-side calligraphy, dripping white paint, and gold splatter. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. A pastiche of Milton H Greene’s The Ballerina Marilyn Monroe Sitting 3 Mixed Media (Oil and Acrylic / Glitter on Canvas) 155x155cm Most of the “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 155×155 cm. Marilyn Monroe seated in a white tutu dissolves into long vertical white drips at the canvas bottom. Silver calligraphic characters stand at the left; a textured bright red lipstick kiss anchors the right. The dark grey-black background carries vertical streaks and scattered yellow-gold paint splatters. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues acid green beside the near-monochrome figure. On the canvas, the colour reads as dark grey-black ground, white-grey figure, silver calligraphy, red kiss, yellow-gold splatters, built through monochrome portrait with heavy white drips, metallic calligraphy, and textured red lip print. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. A pastiche of Milton H Greene’s The Ballerina Marilyn Monroe Sitting Mixed Media (Oil and Acrylic / Glitter on Canvas) 155x155cm * Most of the “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 155×155 cm. A close-up Marilyn Monroe portrait tilts slightly back with an open-mouthed smile, built from thick white and grey brushstrokes on deep black. White splatters and vertical drips fall from the hair and chin. Silver-grey Chinese calligraphy sits upper right with small gold and orange metallic dots across the dark field. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, white-grey expressive portrait, silver calligraphy, gold-orange metallic dots, built through gestural white-on-black portraiture with drips, splatter, and hand-painted calligraphy. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Most of the “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 155×155 cm. Marilyn Monroe faces forward in a smooth greyscale close-up with voluminous hair, heavy-lidded eyes, and visible beauty mark. A rough dark grey halo of gestural strokes surrounds her head against black, with long thin drips at the bottom. Fine white and warm gold-ochre splatters pepper the portrait and background; faint scribbled marks appear lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black and grey ground, smooth grey-white portrait, white and gold-ochre splatters, built through blended monochrome portraiture on gestural dark ground with drips and fine metallic splatter. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. All Yellow in this painting are in Metallic Gold paint and Glitter with Resin, spectacular in real life and totally unique and cannot be fully reproduce in photo. A Unique Hand Painted artwork. This Canvas with full margins 170 x 170cm for up to 6 cm thick gallery wrapped canvas stretcher. “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Canvas Hong Kong nostalgia portrait with restrained colour ground for cultural institution wall, in acrylic and oil on canvas at 200×200 cm. A young Queen Elizabeth II portrait in grey tones sits centrally on black, ringed by broad white gestural strokes and vertical drips. Black Chinese characters for "Hong Kong" appear at the left; a large fluid metallic-gold "Love" character fills the upper right. Fine gold splatters punctuate the high-contrast black-and-white surface. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black and white field, grey portrait, black calligraphy, metallic gold "Love" and splatters, built through monochrome portraiture with expressive white overpainting, hand-painted calligraphy, and gold splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Hong Kong Love Queen Elizabeth ii (2) (A Pastiche to 1960s Hong Kong postage stamp design) 200 x 200cm (with stretcher) Mixed Media ( Oil and Acrylic ) on Canvas Painting the chinese calligraphy meaning " Love ". Elizabeth II (Elizabeth Alexandra Mary Windsor; born 21 April 1926)[a] is Queen of the United Kingdom and the other Commonwealth realms. Elizabeth was born in London as the first child of the Duke and Duchess of York, later King George VI and Queen Elizabeth.

Michael Andrew Law paints a Monochrome Canvas Hong Kong nostalgia portrait with restrained colour ground for cultural institution wall, in acrylic and oil on canvas at 200×200 cm. Young Queen Elizabeth II appears in realistic grey monochrome against solid black, framed by a white brushstroke halo and descending drips. Large black "Hong Kong" calligraphy sits left; smaller vertical black characters occupy the upper right. Scattered fine gold splatters accent the otherwise stark black-and-white composition. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, white gestural halo, grey portrait, black calligraphy, gold splatters, built through realistic monochrome portrait on black with white drip effects, calligraphy, and gold splatter. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Hong Kong Love Queen Elizabeth ii (2) (A Pastiche to 1960s Hong Kong postage stamp design) 200 x 200cm (with stretcher) Mixed Media ( Oil and Acrylic ) on Canvas Painting Elizabeth II (Elizabeth Alexandra Mary Windsor; born 21 April 1926) is Queen of the United Kingdom and the other Commonwealth realms. Elizabeth was born in London as the first child of the Duke and Duchess of York, later King George VI and Queen Elizabeth, and she was educated privately at home. Her father acceded to the throne on the abdication of his brother King Edward VIII in 1936, from which time she was the heir presumptive. She began to undertake public duties during the Second World War, serving in the Auxiliary Territorial Service. In 1947, she married Philip, Duke of Edinburgh, a former prince of Greece and Denmark, with whom she has four children: Charles, Prince of Wales; Anne, Princess Royal; Prince Andrew, Duke of York; and Prince Edward, Earl of Wessex.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Young Queen Elizabeth II in three-quarter profile wears a sparkling diadem and dark off-shoulder gown, rendered in detailed grey tones. A gestural dark background shows broad black strokes and vertical drips over lighter grey. A silver-white "EIIR" royal cypher with crown sits upper left; fine golden-yellow splatters scatter across the surface. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey and black gestural ground, detailed grey portrait, silver cypher, golden-yellow splatters, built through realistic grey-scale portraiture with dripping abstract background and hand-painted royal cypher. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Study of Queen Elizabeth II photographed by Dorothy Wilding, Mixed Media (Oil and Acrylic / Glitter on Canvas) 200x200cm Note: All the brown or yellow colours seen here, is actually Metallic Copper and Gold Paint , photograph doesn't do its justice here .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 158×158 cm. Queen Elizabeth II faces forward wearing the George IV State Diadem, pearl necklace, and a thick white fur stole over dark clothing. The sepia-and-white face contrasts with a dark brown-black ground. A vertical band of purple Ben-Day dots fades in from the left; a single thin orange-gold vertical line runs the full height at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as dark brown-black ground, sepia-white figure, purple Ben-Day column, orange-gold line, built through sepia monochrome portraiture with Ben-Day dot band and hand-painted vertical accent line. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. ! Welcome make us an offer, as long as your are serious about purchasing. A Unique Hand Painted; Canvas with full margins 170 x 170 cm for up to 3 cm thick gallery wrapped canvas stretcher, contact Singulart for framing and stretcher choices. **All the yellow colours seen here, is actually in Metallic / iridescent Gold color professional artist Paint , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, Ben Day dots effect are created with artist self-made stencil. Referencing the iconic photograph created by artist Chris Levine. #woman #queen

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 158×158 cm. Young Queen Elizabeth II in three-quarter profile wears an ornate tiara against a dark atmospheric ground with vertical drips and subtle halftone dot texture. Two thin metallic gold diagonal lines cross the upper right and lower left corners. A small gold calligraphic mark sits at the top right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal grey ground, black-white-grey portrait, metallic gold lines and mark, built through smooth monochrome portraiture on dripped textured ground with hand-painted gold diagonals. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted. No Editions available yet. *This Canvas with full margins 170 x 170 cm for up to 2.8 cm thick gallery wrapped canvas stretcher, contact Singulart for framing and stretcher choices. **All the yellow colours seen here, is actually in Metallic / iridescent Gold color professional artist Paint , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, Ben Day dots effect are created with artist self-made stencil. Referencing the iconic black and white British royalty Great Britain Stamp image of the portrait face Queen of England Elizabeth II photographed by famous artist Dorothy Wilding. #woman #queen

Michael Andrew Law paints a Monochrome Canvas Warhol Elvis pastiche with Ben-Day dots for Pop art dining room, in acrylic and oil on canvas at 200×400 cm. Two identical Elvis Presley gunfighter figures stand side by side wide-legged, each drawing a revolver against solid black. Explosive white splatters and long vertical drips form bright halos around both bodies. The left figure carries a brownish-sepia tint while the right reads in cooler neutral greys, both appearing translucent. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as solid black ground, white splatters and drips, sepia-tinted and grey translucent figures, built through ghostly duplicated figures on black with heavy action-painted white splatter and drips. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×400 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Really Large Art Commission Work, Referencing Andy Warhold's World famous "Double Elvis" which based on Elvis Presley’s Flaming Star (A.K.A. Elvis Presley with a gun) Mixed Media (Oil and Acrylic on Linen Canvas) 400x200 CM #elvispresley #elvis #s #graceland #elvisfan #elvisaaronpresley #memphis #elvispresleyfans #theking #music #presley #elvisfans #elvistheking #tcb #elvispics #elvisforever #kingofrockandroll #elvisaronpresley #rocknroll #king #thebeatles #rockandroll #kingofrock #elvisstyle #elvispresleyinstagram #iloveelvis #elvispresleyfan #kingofrocknroll #kingofmusic

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. A single Elvis gunfighter points a revolver toward the viewer in high-contrast white and grey with halftone texture in the shadows on black. An explosive white splatter aura and gestural strokes surround the figure. Large black Chinese calligraphy fills the right side with scattered yellow-gold droplets throughout. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, white-grey figure, white splatter, black calligraphy, yellow-gold accents, built through high-contrast monochromatic figure with expressive splatter and hand-painted calligraphy. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Referencing Andy Warhold's Triple Elvis print which based on Elvis Presley’s Flaming Star (A.K.A. Elvis Presley with a gun) Mixed Media (Oil and Acrylic / Glitter on Canvas) 200x200cm #elvispresley #elvis #s #graceland #elvisfan #elvisaaronpresley #memphis #elvispresleyfans #theking #music #presley #elvisfans #elvistheking #tcb #elvispics #elvisforever #kingofrockandroll #elvisaronpresley #rocknroll #king #thebeatles #rockandroll #kingofrock #elvisstyle #elvispresleyinstagram #iloveelvis #elvispresleyfan #kingofrocknroll #kingofmusic

Michael Andrew Law paints a Monochrome Canvas Bruce Lee serial study with red-white-blue accent panels for martial-arts archive, in acrylic and oil on canvas at 200×200 cm. Shirtless Bruce Lee holds a martial arts stance before a painterly American flag with blue canton splatter-stars and red stripes showing vertical drips. The figure is rendered in heavy black and white contrast emerging from dense white circular splashes and swirling lines at the base. Red and white drips streak down across the flag and lower canvas. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as red-white-blue flag ground, black-white-grey figure, white and red drips, built through high-contrast monochrome figure over gestural flag with extensive splatter and vertical drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Red White and Bruce is about Bruce Lee- an American Actor, treated often as Chinese's " National Hero" (which I think its hilarious.) Lee Jun-fan (Chinese: 李振藩; November 27, 1940 – July 20, 1973), known professionally as Bruce Lee (Chinese: 李小龍), was a Hong Kong-American actor, director, martial artist, martial arts instructor, and philosopher He was the founder of Jeet Kune Do, a hybrid martial arts philosophy drawing from different combat disciplines that is often credited with paving the way for modern mixed martial arts (MMA). Lee is considered by commentators, critics, media, and other martial artists to be the most influential martial artist of all time and a pop culture icon of the 20th century, who bridged the gap between East and West.He is often credited with helping to change the way Asians were presented in American films.

Michael Andrew Law paints a Monochrome Canvas Bruce Lee serial study with red-white-blue accent panels for martial-arts archive, in acrylic and oil on canvas at 200×200 cm. Bruce Lee stands shirtless in a defensive martial pose, greyscale musculature detailed against a waving stars-and-stripes flag filling the upper canvas. The lower third is near-black with chaotic white circular splashes and dense vertical white and red drips. White splatters cover his torso and the flag field throughout. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as muted red-white-blue flag, greyscale figure, dark lower ground, white and red splatter-drips, built through painterly greyscale figure on flag background with dark-zone splatter and drip overlays. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Red White and Bruce is about Bruce Lee- an American Actor, treated often as Chinese's " National Hero" (which I think its hilarious.) Lee Jun-fan (Chinese: 李振藩; November 27, 1940 – July 20, 1973), known professionally as Bruce Lee (Chinese: 李小龍), was a Hong Kong-American actor, director, martial artist, martial arts instructor, and philosopher He was the founder of Jeet Kune Do, a hybrid martial arts philosophy drawing from different combat disciplines that is often credited with paving the way for modern mixed martial arts (MMA).Lee is considered by commentators, critics, media, and other martial artists to be the most influential martial artist of all time and a pop culture icon of the 20th century, who bridged the gap between East and West.He is often credited with helping to change the way Asians were presented in American films.

Michael Andrew Law paints a Monochrome Canvas Bruce Lee serial study with red-white-blue accent panels for martial-arts archive, in acrylic and oil on canvas at 155×155 cm. Shirtless Bruce Lee strikes a martial pose in thick white and grey brushwork against a dark gestural charcoal ground. Red marks slash across his face and knuckles. White calligraphic characters fill the upper left; a large white gestural signature sits right, with fine white and gold splatters and drips toward the bottom. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as charcoal-black ground, white-grey figure, red face and knuckle marks, gold and white splatters, built through gestural white-grey figure on dark ground with red accents, calligraphy, and metallic splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Oil And Acrylic on canvas Blood splattered Bruce Lee painting in black and white with signature by the artist , Painting mainly in Black and White and a bit Red colour. A Unique Hand Painted artwork. This Canvas with full margins 170x170cm for up to 6 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic pigment, and glitter, which looks spectacular in real life, photo reproductions can never capture the effects and its as unique as unique can get . #brucelee #martialarts #kungfu #wingchun #jeetkunedo #mma #ipman #karate #jkd #muaythai #boxing #ufc #kickboxing #wushu #bjj #jackiechan #bruceleestyle #bruceleequotes #selfdefense #fitness #donnieyen #vingtsun #motivation #taekwondo #wingchunkungfu #martialartist #jetli #jiujitsu #fight #bhfyp

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Full-length Audrey Hepburn in black dress, opera gloves, pearls, and long cigarette holder stands in a bright vertical white column. Dark charcoal side panels are covered with frantic white scribbled lines, splatters, and drips. Small yellow-gold splatters dot the surface and a single thick red vertical streak runs the far right edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as white central column, charcoal side fields, black-white figure, yellow splatters, red edge line, built through high-contrast centered figure with faceted dress shading amid gestural scribble and splatter panels. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Untitled (Audrey Hepburn Breakfast at tiffany painting referencing Bud Fraker) Note: All the turquoise blue and yellow colours seen here, is actually Metallic turquoise and Gold Paint , photograph doesn't do its justice here . Painting mostly in Black and white with blue green turquoise metallic paint , chinese calligraphic of her name on lower left. Audrey Hepburn (born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress and humanitarian. #audreyhepburn #breakfastattiffanys #audrey #vintage #art #chanel #fashion #marilynmonroe #hollygolightly #s #arianagrande #coldroom #demardolls #bloodqueens #fancybabies #hairtie #tedbaker #hepburn #gaboween #nikiandgabi #fancyvlogsbygab #gabidemartino #gabi #twins #nikidemartino #nikidemar #fancy #takemiami #springbreak

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 155×155 cm. Alfred Hitchcock in suit and tie holds a clapperboard reading "PSYCHO" and "DIR. MR. HITCHCOCK" with painted white lettering on black. His face is built from thick white and grey impasto against a dark dripping ground. A bold red diagonal slash cuts the right side; small gold dots scatter upper areas with white calligraphic script at the left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as black-grey ground, white-grey portrait, red diagonal slash, gold dots, white typography, built through expressive high-contrast portraiture with hand-painted clapperboard text, calligraphy, and splatter accents. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and/ or Metallic Gold Paint which gives a real reflective looks, it looks Really Spectacular if you stand in front of it , but photograph doesn't do its justice here . Painted in Oil And Acrylic on canvas, sides are not painted, plaine gesso-ed canvas. Mr.Hitchcock’s Psycho publicity photography of him holding a clapboard (After a Print by New York World-Telegram & Sun Collection) #hitchcock #alfredhitchcock #brooklyn #b #jakeperalta #amysantiago #rosadiaz #edit #charlesboyle #terryjeffords #thebirds #scully #captainholt #movie #stephaniebeatriz #raymondholt #psycho #film #melissafumero #terrycrews #andysamberg #cinema #art #s #ginalinetti #brooklynninenine #horror #billieeilishedits #billie #bhfyp

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Princess Diana smiles with tiara and pearl necklace, arms crossed on a white cushion, painted in smooth greyscale. The background is a creamy white field with broad visible brushstrokes and darker painterly borders at the sides. Black Chinese calligraphy sits upper left; cursive "Diana" appears upper right with sparse gold splatters. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as creamy white brushed ground, greyscale portrait, black calligraphy, gold splatter accents, built through greyscale portraiture on heavily brushed light ground with hand-painted Chinese and English script. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Painting in Oil and Acrylic on canvas, Diana, Princess of Wales (born Diana Frances Spencer; 1 July 1961 – 31 August 1997) was a member of the British royal family. She was the first wife of Charles, Prince of Wales, and the mother of Prince William and Prince Harry. Diana's activism and glamour made her an international icon and earned her an enduring popularity as well as an unprecedented public scrutiny, exacerbated by her tumultuous private life.

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas small-format Audrey or icon triptych set for corridor salon hang, in acrylic and oil on canvas at 40×120 cm. Three small square panels form a row of Audrey Hepburn portraits in greyscale. Left: oversized sunglasses and tiara on black with a thin vertical neon-pink line and soft pink edge glow. Center: cigarette holder and beaded necklace on mottled grey with pink-purple halo behind the hair. Right: large hat with white feather puff on dark ground, neon-pink contour on the hat and a short neon-yellow neck line. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as greyscale figures, black and grey grounds, neon pink and yellow accent lines, built through smooth monochrome portraiture with hand-painted neon outlines and soft color edge glows. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits narrow corridors, bedside triptych hangs, or salon walls needing rhythm in small modules. The 40×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted (Yes, all three are hand painted original work by Michael Andrew Law), Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, then a few coat of fluorescent paint glazing layer, looks amazing if you stand in front of it. **These Are Three separated Canvas; Each Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Audrey Hepburn in black sleeveless dress, gloves, pearls, and cigarette holder occupies a narrow white vertical band at center. Flanking dark grey fields are filled with energetic white scribble lines and fine splatter. Small yellow paint flecks appear across the composition with one thin red vertical streak at the far right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as white center band, dark grey flanks, black-white figure, yellow flecks, thin red line, built through clean black figure on white column framed by gestural white scrawl over dark textured sides. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Untitled (Audrey Hepburn Breakfast at tiffany painting referencing Bud Fraker) Note: All the brown or yellow colours seen here, is actually Metallic Copper and Gold Paint , photograph doesn't do its justice here . Painting mostly in Black and white with Red Glitter, chinese calligraphic of her name on lower left. Audrey Hepburn (born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress and humanitarian.

Michael Andrew Law paints a Monochrome Canvas small-format Audrey or icon triptych set for corridor salon hang, in acrylic and oil on canvas at 50×100 cm. Two square Audrey Hepburn panels sit side by side in greyscale. Left: wide-brimmed hat and black dress, biting sunglasses with a smile on textured charcoal grey and a soft magenta wash at the right. Right: tight face close-up holding a slender object near parted lips on grainy grey with orange-yellow glow left and magenta-pink glow right, Ben-Day dots visible in the skin tones. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as greyscale portraits, charcoal and light grey grounds, magenta, orange-yellow, and pink washes, built through monochrome portraiture with atmospheric color washes; right panel integrates Ben-Day dot skin texture. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits narrow corridors, bedside triptych hangs, or salon walls needing rhythm in small modules. The 50×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted (Yes, all three are hand painted original work by Michael Andrew Law), Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, then a few coat of fluorescent paint glazing layer, looks amazing if you stand in front of it. **These Are TWO separated Canvas; Each Canvas with full margins: 62 x 62 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 158×158 cm. Audrey Hepburn in black gown and pearl necklace holds a long cigarette holder, rendered luminous in grey-white against a dark smoky ground with hazy white patches. Three sets of parallel orange-gold horizontal lines cut across upper left, mid-right, and lower left. White Ben-Day dot grids fill the upper right and lower left corners with drips and splatter at the left edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white figure, hazy white mist, orange-gold bands, white Ben-Day dots, built through soft-focus monochrome portrait with hand-painted orange bands and stenciled Ben-Day corner grids. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. A Unique Hand Painted Acrylic and Oil on canvas painting. One of a kind. *This Canvas with full margins 170 x 170 cm for up to 3 cm thick gallery wrapped canvas stretcher, Please contact Singulart for framing and stretcher choices. **All the yellow colours seen here, is actually in Metallic / iridescent Golden professional artist Glitter powder and resin , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, start from black gesso ground and many many thin coat of white paint layers, Ben Day dots effect are created with artist self-made stencil. This Pop Art Referencing a photograph of famous movie star Audrey Hepburn as holly golightly holding a cigarette holder in Hollywood film Breakfast at tiffany's.

Michael Andrew Law paints a Monochrome Canvas calligraphy overlay portrait with projector-guided lettering for bilingual collector foyer, in acrylic and oil on canvas at 200×200 cm. An elderly man's portrait in warm ochre, tan, and gold-brown tones sits at center on a dark charcoal ground. Large bold black calligraphic characters flank both sides, partially overlapping the face. Expressive white splatters, vertical drips, web-like white lines, and a small white silhouette figure appear at the bottom center. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as ochre-gold portrait, black calligraphy, dark grey ground, white splatter and drips, built through warm-toned portrait on dark ground with bold calligraphy overlay and gestural white mark-making. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits bilingual offices, cultural centers, or collector studies that welcome calligraphy scale. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Deng Xiaoping said (or Claimed that) he loved Hong Kong. Note: All the brown or yellow colours seen here, is actually Metallic Copper and Gold Paint , photograph doesn't do its justice here . Deng Xiaoping, China’s late, great leader, was lauded as a visionary when, in talks with British Prime Minister Margaret Thatcher, he articulated a formula that would allow Communist China to take control of Hong Kong in 1997: “one country, two systems.” It was a construct unique to China, offering Hong Kong what Beijing’s leaders promised would be “a high degree of autonomy” and a “gradual” path to democracy. Hong Kong is clearly ready for democracy. But real autonomy, and a real election with an unknown outcome, are far too risky for Beijing’s current rulers. It’s something Beijing never intended — despite Chairman Deng’s masterfully nuanced formulation.

Michael Andrew Law paints a Monochrome Canvas Hong Kong nostalgia portrait with restrained colour ground for cultural institution wall, in acrylic and oil on canvas at 200×200 cm. King Charles III in formal military uniform with medals and braided shoulder cords faces forward with a slight smile on a near-black ground. Swirling white and light-grey brushwork forms a misty halo around head and shoulders. A large thick metallic-gold Chinese "Love" character dominates the upper right with fine gold splatters at the left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, blue-grey monochrome uniform and face, white atmospheric strokes, metallic gold calligraphy, built through detailed monochrome portraiture with expressive white halo painting and impasto gold calligraphy. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Untitled (Hong Kong Love Charles, Prince of Wales) Mixed Media ( Oil and Acrylic ) on Canvas Painting Charles, Prince of Wales (Charles Philip Arthur George; born 14 November 1948) is the heir apparent to the British throne as the eldest son of Elizabeth II. He has been Duke of Cornwall and Duke of Rothesay since 1952, and he is the oldest and longest-serving heir apparent in British history. He is also the longest-serving Prince of Wales, having held that title since 1958.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 200×200 cm. A horse leaps or rears rightward, its body built from translucent charcoal grey and black with bright white highlights on chest and neck. The ground is a flurry of black and white gestural strokes with vertical drips at the base and scattered small gold splatters. "Geo Stubbs" in black cursive sits upper left; large vertical black Chinese characters occupy the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey gestural field, grey horse, gold splatters, black script and calligraphy, built through expressive layered brushwork with drips, cursive inscription, and bold Chinese calligraphy. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and/ or Metallic Gold Paint which gives a real reflective looks, it looks Really Spectacular if you stand in front of it , but photograph doesn't do its justice here . Painted in Oil And Acrylic on canvas. Referencing one of the most expensive animal painting today - Whistlejacket, an oil on canvas painting from about 1762 by the British artist George Stubbs showing the Marquess of Rockingham's racehorse approximately at life-size, rearing up against a plain background. Its collection of National Gallery, London.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. John Lennon faces the viewer in round wire-rim glasses, his hair built from broad white and grey strokes that flare outward like a halo. The ground is dark and heavily worked, with vertical drips and gestural marks. Small yellow and gold splatters scatter across the surface, and a thin red streak sits low on the left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black and grey ground, white-grey hair, yellow and gold splatters, single red accent, built through transparent grey-white portrait on dark ground; expressive drips, splatter, and thick highlight strokes. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Red are Glitter powder with Resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . A Unique Hand Painted artwork. This Canvas with full margins 220 x 220cm for up to 6 cm thick gallery wrapped canvas stretcher. Based on a photo by Iain MacMillan (1938-2006) - John Lennon taken on 1971, Yoko Ono is the copyright owner of the image. Iconic portrait of John Lennon by Ian Macmillan in 1971. Promotional photo released in 1998 for The John Lennon Anthology by Capitol Records. Information about the photo referenced: Capitol Records promotional photo - gelatin silver print in passe-partout - 1998 Size: 20cm x 25cm Media: Gelatin silver RC print, semi-matt Dates: Shot 1971 and printed in 1998 Passe-partout standard 28cm x 35cm, no contact to any adhesive, easy to remove or ready to frame.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 155×155 cm. Marlon Brando appears as Don Vito Corleone with downcast eyes and a somber expression, his face modeled in thick white paint against deep black. Vertical white Chinese characters reading 教父 occupy the upper left. The dark field carries scattered gold and orange speckles and a single thin vertical gold line at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as stark black ground, white face and calligraphy, gold and orange-gold speckles, built through high-contrast impasto highlights on black; vertical calligraphy; metallic splatter accents. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Marlon Brando stands in a black tuxedo with bow tie, cradling a cat at the lower center. The Godfather title lettering and puppet-string logo sit beside his head, with vertical grey Chinese characters 教父 at the left. Black wash and heavy vertical drips run downward, and numerous small bright gold dots fleck the dark ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey figure; gold dot field; grey calligraphy, built through chiaroscuro portrait with graphic title treatment; gestural black drips; scattered gold-dot overlay. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Most of the “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Audrey Hepburn as Holly Golightly holds a long cigarette holder near her mouth, wearing a black sleeveless gown and layered pearl necklace with hair in a high bun. Impasto white and grey strokes fill much of the background beside a dark black passage at the right. Bold vertical Chinese characters 夏萍 run down the right edge, with yellow splatter and thin red vertical drips along the far right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey portrait; yellow splatter; red edge drips, built through realistic monochrome figure against gestural impasto ground; calligraphy; splatter and drip accents. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , Red colour is Glitter powder suspended with resin, it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Untitled Audrey Hepburn Breakfast at tiffany painting II,Referencing Bud Fraker Mixed Media (Oil and Acrylic / Glitter on Canvas) 200x200cm #breakfastattiffanys #audreyhepburn #hollygolightly #breakfast #audrey #hepburn #fashion #givenchy #moonriver #trumancapote #hollywood #vintage #henrymancini #georgepeppard #s #johnnymercer #foodblogger #style #breakfastideas #movie #love #paulvarjak #art #martinbalsam #women #chanel #tiffanyandco #beauty

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 160×160 cm. Audrey Hepburn wears a jeweled tiara over a high bun, her dark sunglasses lowered on the nose as she looks straight ahead. Teal Ben-Day halftone dots cluster at the left with two parallel teal diagonal bands, while a smaller teal dot field and two yellow diagonal lines appear at the right. A bright yellow spray glow blooms in the upper right corner behind the grey-scale face. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale face; teal halftone fields; yellow spray glow and diagonal bands, built through smooth monochrome portrait with stenciled Ben-Day dots and hard-edged diagonal color bands. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 160×160 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted Acrylic and Oil on canvas painting. *This Canvas with full margins 170 x 170 cm for thick gallery wrapped canvas stretcher, Please contact Singulart for framing and stretcher choices. **All the yellow colours seen here, is actually in Metallic / iridescent Gold color professional artist Paint , photograph doesn't do its justice here; Pink color fluorescent paint are bright and looks as good as any painting you see in Contemporary Art Shows like Art Basel or Frieze. ***Technique note: This work is A Unique Hand Painted piece, start from black gesso ground and many many thin coat of white paint layers, Ben Day dots effect are created with artist self-made stencil. Referencing a still photograph from famous 1961 Hollywood film adapted from Truman Capote's 1958 book Breakfast at Tiffany's , starring Audrey Hepburn as Holly Golightly.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 155×155 cm. A woman with voluminous blonde hair and bold dark eyes—evoking Brigitte Bardot—fills the square frame in high-contrast white and black. Energetic grey and white brushwork surrounds the head, with white paint dripping down the left. Thin red and yellow vertical lines mark the right edge, and small yellow-orange splatters dot the ground; two Chinese characters sit in the lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey portrait; red and yellow edge lines; yellow-orange splatter, built through high-contrast pop portrait with gestural ground, vertical drips, and scattered accent splatters. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Note: All the brown or yellow colours seen here, is actually Metallic Copper and Gold Paint , photograph doesn't do its justice here . #brigittebardot #s #annakarina #janebirkin #vanessaparadis #oisehardy #fran #france #actress #sergegainsbourg #love #beauty #icon #vintage #l #painting #lilyrosedepp #draw #annewiazemsky #claudiacardinale #laparisienne #audreytautou #lesparisiennes #evagreen #marioncotillard #digitalpainting #cultivatuallure #rapporttextil #pattern #bhfyp

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. A long-haired woman sits astride a Honda motorcycle, both hands gripping her head in distress while wearing a dark bodysuit and lace-up boots. Broad grey and white brushstrokes and downward drips form a chaotic ground. The words URBAN OUTFITTERS appear stenciled in reverse at the right, with a white Law signature at the left and small purple, pink, and gold splatters throughout. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal grey, white, and black figure; purple, pink, and gold splatter accents, built through figurative monochrome rider on gestural wash ground; reverse stencil lettering; controlled splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Hailey Clauson x Urban Outfitters x Jason Lee Parry ’s $28 Millions Photoshoot Regret You can read about the story about the photo inspired this painting here: https://www.dailymail.co.uk/news/article-2028968/Hailey-Clauson-Urban-Outfitters-T-shirt-defended-photographer-Jason-Lee-Parry.html Note: All the brown or yellow colours seen here, is actually Metallic Copper and Gold Paint , photograph doesn't do its justice here.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×70 cm. A young woman with a short dark bob crouches with knees drawn up, arms wrapped around a small dark animal, wearing a striped tee and heavy boots rendered in detailed grey tones. A bright yellow-orange wash with splatters and organic shapes dominates the center background. Grey-yellow texture with dark speckles and long drips fills the left, while brown-black vertical lines suggest a wall corner at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale figure; central yellow-orange burst; grey, brown, and black side grounds, built through tonal figurative rendering against layered splatter, drip, and transparent color-field washes. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Yellow brown dominant color artwork Already professionally Stretched and ready to hang , stretcher is 1.6 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Mathilda Lando , a character play by Oscars winner Natalie Portman in movie Léon ou Le Professionnel .

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 70×50 cm. Audrey Hepburn in Holly Golightly dress turns left wearing oversized black sunglasses, opera gloves, tiara, and multi-strand pearls while raising pastry to her mouth and holding a white cup. The figure is painted in grey-scale like a vintage photograph. Behind her, bright yellow and orange splashes halo the head, fading to pale blue, lavender, and white drips in the lower ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues chrome yellow beside the near-monochrome figure. On the canvas, the colour reads as black, white, and grey figure; yellow-orange upper burst; pale blue and lavender lower wash, built through controlled grey-scale portrait with spontaneous yellow-orange splatter and drip background. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 1.7 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, film movie star Audrey Hepburn eating pastry in yellow background, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 70×50 cm. Marilyn Monroe glances over her shoulder with a wide smile, her short wavy hair in light blue-white tones and a voluminous white fur stole wrapping her shoulders. The entire ground is saturated blue with visible vertical drips descending from the top edge. Soft lighting models the face against the darker blue surround. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as monochrome blue field from deep navy to pale blue-white highlights, built through blue-wash ground with vertical drips; smooth blended portrait and textured fur strokes. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 1.7 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 70×50 cm. A woman resembling Audrey Hepburn looks slightly upward wearing a thin jeweled tiara over a swept-back bun. Her eyes carry dramatic winged liner above softly modeled skin. Fluid pink and white cloud-like washes envelop the head, with white and pink splatters scattered along the right side of the canvas. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as rose, magenta, and pale pink washes; black, white, and grey facial modeling, built through soft-focus pink glazes and splatter around a precisely shaded monochrome face. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; Depicting Audrey Hepburn wearing head jewellery, was featured in Vogue Magazine. This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 1.7 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 70×50 cm. Audrey Hepburn appears in left profile with eyes closed, wearing a dark turtleneck and hair gathered in a neat bun. Realistic grey shading defines the face beneath overlapping translucent blue and white cloud shapes. Fine orange and yellow splatters speckle the upper right corner against the cool-toned ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as cobalt and sky-blue washes; grey-scale profile; orange and yellow splatter accents, built through smooth tonal portrait under fluid blue glazes with wet-on-wet white shapes and flicked warm splatters. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork with Color Blue and beautiful Audrey Hepburn iconic image in Pop Art style, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 1.7 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 70×50 cm. Marilyn Monroe looks slightly upward with mouth parted, her platinum hair in soft waves and a dark heart-shaped pendant on a thin cord at her chest. The face is rendered in grey and white over pink and red fluid washes. Translucent white cloud forms and small yellow and blue flecks appear in the splattered background at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as pink-to-crimson ground washes; grey-white portrait; tiny yellow and blue splatter flecks, built through blended monochrome portrait against layered pink-red washes, clouds, and background splatters. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Already professionally Stretched and ready to hang , stretcher is 1.7 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Base on a photo of Monroe wearing a very expensive piece of diamond jewelry . Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 120×90 cm. Lemmy Kilmister plays a Rickenbacker bass while singing into a high-mounted microphone, his face turned upward in a cowboy hat, patterned shirt, and neckerchief. The musician reads in sharp black, white, and grey contrast. A large crimson-red splash explodes behind him with fine speckles and long vertical drips; a small MLAW signature sits in the red field at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as grey-scale figure; crimson-red splash and drips; off-white ground, built through detailed monochrome performance portrait over expressive red ink-style wash and drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; For this listed price: this artwork is unmounted and will sent in tube rolled up, you can choose stretcher and framing option on this page.Click add a frame option. Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Ian Fraser Kilmister, most famous member of the British rock band Motörhead.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 120×90 cm. Keith Richards holds a cigarette in a high-contrast black-and-white chest portrait set inside a dark horizontal band with long black drips below. A brown-and-cream electric guitar floats above against yellow-orange splatter and wash. A bikini-clad woman's grey silhouette stands at the right, a faint yellow hat figure appears at the left, and a looping black calligraphic line curves beside the portrait. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as yellow-orange ground; black-white-grey central portrait; brown-cream guitar, built through stencil-like high-contrast portrait with drip band, color washes, and gestural black line overlay. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size animal artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, mainly in orange yellow and black colors all hand painted with Extremely thin high quality acrylic layers. Referencing Rolling Stones Keith Richards lifestyle and his guitar.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 120×90 cm. Robert Trujillo bends intensely over a bass guitar wearing a dark graphic tank and shorts, his long hair framing a concentrated expression. The figure is painted in detailed grey tones. Purple and black paint bursts radiate outward from behind him on a white ground, with splatter and drip marks extending into the margins. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues violet purple beside the near-monochrome figure. On the canvas, the colour reads as grey-scale bassist; royal purple and black splatter burst; white ground, built through precise monochrome figure with abstract purple-black splatter and drip halo. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Purple and black dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Metallica images of band Bassist Robert Trujillo .

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 120×90 cm. Kirk Hammett grimaces while playing an electric guitar bearing a white skull graphic and a small number 4 near the lower bout. His curly hair is picked out in bright white highlights against black shadows. Translucent yellow splatter and long vertical drips fill the white background, with additional dark drips falling from beneath the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues chrome yellow beside the near-monochrome figure. On the canvas, the colour reads as black, white, and grey guitarist; luminous yellow splatter and drips, built through high-contrast performance portrait with yellow wash splatter and controlled vertical drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Yellow and Black dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Metallica early images, songwriter, band guitarist with his amazing guitar solo - Kirk Lee Hammett.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 120×90 cm. Lars Ulrich drums with long hair flung back, his right arm raised high gripping a stick while a TAMA logo reads clearly on the kit. The drummer and hardware are rendered in detailed grey-scale. Explosive crimson splashes cluster behind the head and pool heavily along the bottom edge with many thin descending drips. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as grey-scale drummer and kit; crimson-red splashes and drips; cream-white ground, built through detailed representational drumming scene with action-painted red splatter and drip field. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Red and Black colours dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Metallica early images, songwriter, band founder and drummer Lars Ulrich .

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 120×90 cm. James Hetfield sings into a microphone while playing a white electric guitar, wearing a black tank and dark pants on stage. Faint blurred stage lights sit behind the performer. Broad sepia and brown splatters and washes radiate outward on white, framing the grey-scale figure in an explosive halo. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as sepia, brown, and tan splatter ground; black-white-grey performer, built through shaded monochrome stage portrait surrounded by earthy splatter and transparent wash. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Umber Brown dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Metallica early images, songwriter, singer and lead guitarist of the band James Hetfield.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 90×120 cm. Klaus Meine leans forward shouting into a microphone stand, mouth wide open and long curly hair caught in bright white highlights over a dark jacket. The singer is modeled in grey-scale with strong stage-light contrast. A deep blue wash fills the background with soft out-of-focus light spots suggesting concert bokeh. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as indigo-to-sky-blue ground; jet-black, charcoal, and white figure, built through opaque grey-scale vocalist with fluid blue wash background and bokeh-like highlights. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 90×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size Rock Star Pop Art artwork Already professionally Stretched and ready to hang; sides are painted , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Concert image of famous Germany Rock band Scorpions lead singer Klaus Meine.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 110×80 cm. Till Lindemann stands on a grey block ledge in a red chef's hat and matching apron over dark clothes, grinning as he hoists a large golden tapered object that glows with yellow light. The background splits into dark black-purple at the left, cerulean blue at the center, and brilliant yellow-white at the right. Paint splatters and long vertical drips run down from the ledge at the bottom. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as red apron and hat; black, purple, blue, and yellow ground zones; golden glowing object, built through expressive multi-zone color ground with impasto figure, splatter, and vertical drips. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Blue Red and Yellow Bright Dominant color artwork is already professionally stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing images of Germany Rock Band Rammstein, their singer Till Lindemann performing their song Mein Teil, he is holding a mic with a knife at the end, wearing chef hat and costume. This is the only Full Color painting in the Rammstein series.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 110×80 cm. Christoph Schneider raises both drumsticks overhead in a wide V, wearing dark sunglasses and a dark vest covered in repeating circular sequin-like discs with wristbands. The portrait reads in gritty high-contrast grey. A bright lemon-yellow splatter burst explodes behind the head and shoulders, while thin black and grey drips descend on white below the torso. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grey, and white figure; saturated lemon-yellow burst; white ground, built through high-contrast portrait with yellow action splatter and vertical black drip accents. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special pop style splatter paint,resulting Art fair quality looking; This Medium size pop art Yellow Brown and Black dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing images of Germany Rock Band Rammstein, their drummer Christoph Doom Schneider performing in concert.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 110×80 cm. A shirtless bald bassist with a goatee bows his head over a black bass guitar, wearing patterned trousers and a strap bearing a circular emblem. His physique and instrument show smooth shading mixed with gritty texture. A large dark grey splash blooms behind the figure with fine speckles scattered across the white surround. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as silver-to-charcoal grey figure; dark grey splash; white ground, built through tonal figurative bass portrait with monochrome splatter halo on white. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Grey dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing images of Germany Rock Band Rammstein, their bassist Oliver Riedel performing in concert.

Michael Andrew Law paints a Monochrome Canvas street-art homage with stencil logic for urban contemporary apartment, in acrylic and oil on canvas at 120×90 cm. A girl with braided hair reaches upward, grasping strings attached to eight balloons that lift her off the ground. The child and balloons are painted in careful grey and white tones. Behind them, a broad orange-yellow splash with vertical drips and speckles sits on an otherwise plain white ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as grey-scale girl and balloons; orange-yellow splash; white border, built through shaded figurative subject over fluid orange-yellow drip and splatter wash. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. The Work is framed and ready for hang . Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; We sell this Medium size orange black and white color pop art artwork artwork unmounted, ship to you rolled up in a extra hard cardboard tube. Send us an offer are welcome and just name your price, framing option also available. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the famous Banksy's Balloon girl graffiti art and sculpture.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 90×120 cm. Two rock guitarists perform side by side: the front figure in a studded leather vest screams over a white angular electric guitar while a second guitarist appears partly behind him. Both musicians read in grey-scale detail. Vibrant orange and yellow splatter and drips radiate outward from behind the pair on the white ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale figures; orange, yellow, and amber splatter burst, built through detailed dual portrait with warm action-painted splatter and drip background. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 90×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size animal artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing Concert image of famous Germany Rock band Scorpions songwriters and guitarists Rudolf Schenker & Matthias Jabs

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 110×80 cm. Paul Landers stands with arms crossed over his chest, holding a dark Les Paul-style guitar diagonally across his body, his face set in a rugged scowl. The figure resembles a grainy high-contrast screen print in black and grey. A large purple wash with drips and speckles dominates the background on an off-white ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal-grey figure; deep purple and lavender splash; off-white ground, built through stencil-like monochrome portrait over expressive purple wash, splatter, and drips. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Yellow brown dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing images of Germany Rock Band Rammstein, their guitarist Paul Landers performing in concert.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 110×80 cm. Christian Flake Lorenz plays piano in left profile, glasses catching highlights as he leans over the keys visible at the lower right. The face and hands are sharply modeled in black, white, and grey. A soft sepia wash surrounds the figure with scattered sepia droplets at the right and several long thin black drips descending at the bottom. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale pianist; sepia-brown atmospheric wash; black bottom drips, built through high-contrast profile portrait with sepia glaze halo and deliberate vertical drips. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork of a famous Rock Star, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Umber Brown dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing images of Germany Rock Band Rammstein, their composer / songwriter & keyboard player Christian "Flake" Lorenz performing in concert.

Michael Andrew Law paints a Monochrome Canvas rock performance portrait with sepia splash ground for music-industry lounge, in acrylic and oil on canvas at 110×80 cm. Richard Kruspe bends over an electric guitar, his slicked-back hair and leather jacket rendered with fine line and shading as he studies the fretboard. Cerulean to navy blue splashes and washes engulf the lower figure and instrument against a white ground. Black speckles mix with the blue field around the legs of the composition. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale musician and guitar; cerulean-to-navy blue splatter and wash, built through detailed linear portrait merged with spontaneous blue splatter, wash, and drip marks. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits music lounges, backstage corridors, or recording-studio foyers. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Blue and Dark Black dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing images of Germany Rock Band Rammstein, their guitarist Richard Kruspe performing in concert.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×70 cm. Darth Vader's helmet dominates the center in deep black with sharp white highlights along the mask contours. A horizontal hot-pink glowing band crosses behind the helmet like a lightsaber blade. Grey and purple splatter washes texture the ground around the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black helmet; neon magenta light band; grey and lavender splatter ground, built through high-contrast graphic helmet with soft pink glow line and spray-wash background. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Artcoliq also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; Stretched and ready to hang , stretcher is 1.7 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart. Base on image of Star Wars original Darth Vader and his lightsaber.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. A figure with long luminous white hair presses a finger to the lips in a hushing gesture at the left, the face softly lit with a ghostly glow. Thick white brushstrokes define the garment. The right side falls to a dark textured ground with white splatters and thin vertical marks resembling abstract foliage or light streaks. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black and deep grey ground; white hair and clothing; faint violet-pink highlights, built through soft blended face and hair with impasto whites; splatter and gestural marks on dark ground. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Referencing Found photo from instagram. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Marilyn Monroe's face fills the square canvas with eyes closed and mouth slightly open, upper teeth visible in a serene expression. Platinum hair is built from thick textured white strokes. The ground is a dark mottled grey that pushes the luminous face forward. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal grey ground; white hair highlights; soft grey facial midtones, built through expressive impasto highlights on blended grey-scale portrait with visible canvas grain. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Bruce Lee stands shirtless in a fighting stance, torso angled left while his head turns sharply right with an intense gaze. Strong light from the upper left models the musculature of chest, arms, and neck against deep shadow. The background swirls with dark textured grey marks suggesting motion around the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as near-black to bright white grey-scale; faint warm sepia in shadow areas, built through chiaroscuro oil modeling with bold brushwork in hair and atmospheric ground. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Referencing Bruce Lee in Enter the Dragon. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Captain Jack Sparrow faces slightly right but looks back toward the viewer with a faint smirk, his right index finger touching his lower lip. He wears a dark tricorn hat with a small white X, bandana, and beaded dreadlocks over pirate coat and vest. Dramatic light from the right leaves the left face and torso in deep shadow against a pale misty wash brightening at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as full grey-scale from charcoal black to brilliant white; pale right-side glow, built through visible brushwork oil portrait with strong directional chiaroscuro on light ground. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Referencing Johnny Depp as Jack Sparrow in Pirate of the Caribbean. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas small-format Audrey or icon triptych set for corridor salon hang, in acrylic and oil on canvas at 50×150 cm. Three vertical panels each show the same woman in left profile with eyes closed, chin lifted, wearing a dark garment and rounded hat with long back tassels against a hazy grey brushy ground. The left panel tints the tassels faint blue, the center panel stays purely grey-scale, and the right panel adds a soft pink-red glow on tassels and neck. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey triptych; per-panel blue or pink-red accent on tassels, built through soft profile portraits with near-identical composition and subtle per-panel color glaze shifts. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits narrow corridors, bedside triptych hangs, or salon walls needing rhythm in small modules. The 50×150 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted (Yes, all three are hand painted original work by Michael Andrew Law), Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, then a few coat of fluorescent paint glazing layer, looks amazing if you stand in front of it. **These Are Three separated Canvas; Each Canvas with full margins: 62 x 62 cm; Edges are painted , Stretched and Ready to Hang. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Audrey Hepburn as Holly Golightly looks back over her shoulder with a cigarette holder at her lips, her dark hair in a high updo at the right side of the frame. The left ground is light grey with abstract petal-like shapes. A soft magenta and purple glow washes the right edge of head and shoulder against visible canvas texture. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey, black, and white figure; magenta-purple right-edge glow; pale grey left ground, built through detailed face with textured background strokes and soft colored glaze on one side. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Marilyn Monroe's face emerges from a cloud-like mass of white hair blending into a mottled grey-white ground. Heavy dark lashes shadow sultry half-lidded eyes above a pale nose and slightly parted lips carved with sharp contrast. The overall effect is misty, as if the icon materializes from smoke. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as white and grey hair cloud; deep black eye and lip accents; faint reddish-purple upper-right tone, built through soft blended skin and hair with high-contrast graphic strokes on facial features. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Canvas calligraphy overlay portrait with projector-guided lettering for bilingual collector foyer, in acrylic and oil on canvas at 50×50 cm. Lydia Shum Din-ha smiles warmly toward the right wearing cat-eye glasses and a towering bouffant hairstyle. Her right hand rises near her chin with index finger pointing upward. She wears a dark high-collared garment against a soft mottled ground shifting between dark plum and pale pink highlights. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as plum, burgundy, and dusty rose monochrome; pale pink highlights; deep brown-purple shadows, built through soft blended portrait in warm monochrome violet-pink range on textured canvas. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits bilingual offices, cultural centers, or collector studies that welcome calligraphy scale. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Referencing Lydia Shum Din-ha, the most famous tv star in Hong Kong's colonial era . #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Karl Lagerfeld appears in left profile wearing signature white ponytail hair, opaque black sunglasses, high white collar, and dark suit while looking left. The ground is misty textured grey. A faint red glow pools at the lower left corner, and a small gold signature mark sits mid-right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and cool-warm greys; localized red lower-left glow; tiny gold mark, built through atmospheric grey portrait with sharp silhouette lighting and subtle edge color accent. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 52 x 52 cm; Edges are painted , Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Creative director of the French fashion house Chanel, a position held from 1983 until his death, and was also creative director of the Italian fur and leather goods fashion house Fendi. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Marilyn Monroe's closed eyes and slightly open mouth occupy a tight crop, platinum waves framing the face under frontal light. Deep shadows ring the features while the coarse canvas weave shows through the paint. A warm sepia undertone warms the otherwise grey-scale surface. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey with sepia warmth; dark vignette edges, built through soft-focus blended portrait with visible canvas grain and warm monochrome toning. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Marilyn Monroe faces forward from the shoulders up with voluminous waved platinum hair, dark lined eyes, parted dark lips, and a beauty mark on her left cheek. The ground is mottled grey. A faint pale teal outline traces the silhouette of head and neck; a signature sits at the lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale face and hair; mottled grey ground; pale teal silhouette outline, built through pop-influenced monochrome portrait with soft skin blending and thin colored edge line. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Audrey Hepburn wears a dark rounded pillbox hat in strict left profile with eyes downcast and a dark ruffled accessory at the ponytail. Long lashes frame the serene face modeled in smooth greys. A faint luminous cyan outline traces the back of head, hair, and neck against a mottled expressive grey ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white, and grey profile; fine cyan back-edge glow, built through smooth tonal profile with gestural grey background and neon-like cyan outline accent. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 40×40 cm. Marilyn Monroe gazes slightly aside with glamorous half-lidded eyes and parted lips showing teeth, her waved platinum hair framing the face. The figure is painted in grey-scale. A bright fuchsia-pink aura glows behind the head while the corners of the magenta ground darken toward black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues hot pink beside the near-monochrome figure. On the canvas, the colour reads as grey-scale portrait; fuchsia-to-deep-magenta ground with dark corners, built through detailed Hollywood-style shading with stippled pink halo background on heavy canvas texture. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas small-format Audrey or icon triptych set for corridor salon hang, in acrylic and oil on canvas at 40×120 cm. Three stacked panels repeat Marilyn Monroe from the chest up in a white fur stole and waved platinum hair with a soft expression. The left panel sets her against dark grey with a magenta-pink glow behind the head; the center panel uses a lighter neutral grey ground; the right panel places a tight hot-pink halo on a near-black field outlining her silhouette. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-white-grey Marilyn repeated; left magenta glow, center neutral grey, right hot-pink halo on black, built through triptych pop repetition with per-panel background glaze and halo color shifts. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits narrow corridors, bedside triptych hangs, or salon walls needing rhythm in small modules. The 40×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted (Yes, all three are hand painted original work by Michael Andrew Law), Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, then a few coat of fluorescent paint glazing layer, looks amazing if you stand in front of it. **These Are Three separated Canvas; Each Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Audrey Hepburn's face fills the frame with wide lined eyes, defined brows, short bangs, and a brush held to her slightly open lower lip, a hand entering at the lower left. The portrait is grey-scale. Orange-yellow wash glows from the lower left while magenta and purple haze accents the right cheek and neck on a light textured grey ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-scale facial detail; orange-yellow lower-left wash; magenta-purple right-side haze, built through sharp graphic eyes and features with expressive color washes flanking a monochrome portrait. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted in Oil and Acrylic on Canvas , glazing with high level fluorescent pigment paint , with a mix of classical and contemporary painting technique , the colours are super saturated as bright as any Contemporary Pop you can buy from any A grade art fair , absolutely spectacular if you stand in front of the artwork. artwork Stretched and Ready to Hang. Regarding Stretching : + €30 to final price will stretch it on paneled stretcher after order is placed. ( Contact Singulart for details ) Referencing Holly Golightly portrayed by hollywood mega-superstar Audrey Hepburn, the main character of Truman Capote's 1958 novella Breakfast at Tiffany's 1961 film adaptation.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Front-facing Audrey Hepburn–type portrait in a dark pillbox hat with a large white feather plume, dark bow at the neckline, wide eyes and parted lips against a mottled charcoal ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black, white, and grey with soft magenta rim light on the right shoulder and faint cyan and yellow-green accents on the hat and bow, built through Oil or acrylic on visible canvas weave; smooth facial modeling, thick impasto on the feather, airbrushed halo glows against brushed atmospheric background. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Left-facing profile of Audrey Hepburn–type figure with downcast or closed eyes, large dark pillbox hat with pale front band and hanging rear tassels, white floral stud earring, boat-neck dark dress. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Strict grayscale from deep black through luminous white midtones in the hazy background, built through Painterly portrait on textured canvas; soft blended skin, sharper strokes in the hat tassels and atmospheric grey wash behind the head. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Same Breakfast at Tiffany profile pose with pillbox hat and rear ruffle, face lit from the left over a dark speckled smoky field and a magenta glow behind the hat. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Monochrome greys and blacks with a localized pink-magenta aura at the back of the head, built through Canvas portrait using chiaroscuro side lighting, fine speckle texture in the ground, and airbrushed color accent at the crown. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×50 cm. Audrey Hepburn–type close-up in a wide-brim black hat with a thick pale band, large dark earring, biting the temple arm of sunglasses with a slight smile. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Greyscale figure and hat against grey brushwork on the left and a muted pink-magenta wash on the right, built through Tight bust portrait on coarse canvas; precise eyes and jewelry, looser atmospheric background washes and vertical drips. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 62 x 62 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 40×40 cm. Sam Haskins Cowboy Kate–style close-up: wide-brim hat casting the right eye in shadow, left eye wide, parted lips, wavy hair under the brim. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues hot pink beside the near-monochrome figure. On the canvas, the colour reads as High-contrast black and white face with electric neon pink flooding the right hat brim and hair edge and a thin cyan highlight on the hat crown, built through Pop-street portrait combining smooth facial gradients, textured hair strokes, and spray-like neon color bursts on canvas. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Untitled (Sam Haskins Orignal maquette for Cowboy Kate & Other Stories) Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Referencing Sam Haskins (1926-2009) Orignal maquette for Cowboy Kate & Other Stories, 1963 - 1964. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Breakfast at Tiffany updo with an ornate silver tiara, oversized dark sunglasses lowered to reveal the eyes, direct calm gaze on a near-black field. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Cool greys and deep blacks with a magenta edge glow along the right neck and shoulder, built through Cinematic chiaroscuro painting on visible weave; detailed tiara linework and soft glazed rim lighting. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. Audrey Hepburn as Holly Golightly with her eye above her sunglasses . #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Holly Golightly beehive updo, blank white pupil-less eyes, black sleeveless dress, chunky necklace, long cigarette holder angled downward. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Charcoal greys and black clothing with faint pink-magenta halos around hair and holder edges, built through Pop-surreal portrait with misty blended face, opaque white eye treatment, and layered atmospheric grey background on canvas. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×70 cm. Front-facing cougar head and chest with fixed stare, fine whiskers, and paint splatter framing on a cream ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Charcoal, black, and white fur with crimson and orange flanks plus scattered yellow, green, and purple splatter accents, built through Realistic airbrushed or blended animal face on canvas with action splatter and vertical drip marks at the edges. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, Black and white and Colorful painterly wildlife animal Lioness painting with subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×90 cm. Nick Brandt–style lion in right profile, heavy mane, alert eye, set in a hazy ochre-tan atmosphere with orange wash at left and a small magenta square upper right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Charcoal, umber, black mane, warm ochre and burnt orange atmosphere, cool blue-grey mist, one magenta accent, built through Wildlife realism in the head against abstract washes, splatter, and drip layers on textured canvas. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, This wildlife Animal piece Base on a found photograph featuring a male Lion, Very Colorful subtle splatter and glaze are all hand painted with Extremely thin high quality acrylic layers.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 60×70 cm. David Yarrow–style black panther walking forward, pale eyes, white whisker lines, emerging from green-white mist with teal drips at the base. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Deep black body with emerald, mint, and lime green atmosphere and a small red seal lower left, built through Stencil-like animal form with fluid green washes, splatter fields, and controlled bottom drips on visible canvas. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 60×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; *Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, Black and white in Green background with Colorful painterly wildlife animal Black Panther painting with subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Feature a rare Signature stamp of the artist. Commission for this style of painting are open, send us a question through our business partners at Singulart. Base on an image by expensive photographer David Yarrow.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 70×60 cm. George Stubbs Whistlejacket chestnut horse rearing right over a large cobalt-blue splash with rainbow-thin vertical lines at the bottom and a red seal lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Ochre and sienna horse against navy, cobalt, and cyan blue with multicolor line accents on off-white, built through Figurative horse painting fused with poured blue gestural mass, edge splatter, and fine graphic line overlays. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 70×60 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; *Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful Wildlife Animal Horse painting, largely in Sky Ocean Blue color with subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart. Base of a famous, and one of the most expensive horse painting in human Art history - a work by superstar master English artist George Stubbs titled Whistlejacket.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 120×90 cm. Larger Whistlejacket rearing horse with pale tail and one white socked hoof over a deep purple splash, faint skull sketch under the forelegs, diagonal multicolor lines and white circles crossing the field. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Chestnut brown and white horse on saturated purple with orange, yellow, green, and blue line accents on white, built through Anatomical equine rendering over action-painted purple ground with graphic diagonals and mixed-media circle marks. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 120×90 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size Bronze color animal artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing George Stubbs famous horse painting Whistlejacket

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 110×80 cm. Andy Warhol Grevy's zebra head in left profile with orange and yellow stripes over peach-yellow washes and yellow drips lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues chrome yellow beside the near-monochrome figure. On the canvas, the colour reads as Bright yellow, deep orange, golden tones, peach cream ground, hints of magenta and light blue in fine lines, built through Stencil-flat stripe zones with watercolor washes, splatter, vertical drips, and delicate overlay linework. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique one of a kind Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size, mainly in Yellow Orange and White, Zebra wild life animal artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Michael Andrew Law Gallery grade Fine Art Painting, lots of Very Colorful subtle details such as splatter and line art works are all hand painted with Extremely thin high quality acrylic layers. Referencing the Zebra painting from Andy Warhol’s “Endangered Species” portfolio features 10 silkscreen prints of animals listed on the endangered species list in 1983. The only different is ,This painting is totally, completely hand painted.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 110×80 cm. Zebra profile with white stripes over terracotta, peach, and sienna body tones and long orange-peach drips along the bottom edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as Burnt orange, terracotta, peach, off-white stripes, lavender-grey haze, thin blue and yellow line accents, built through Expressive layered washes and drip painting with bold stripe masking over warm earth grounds. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size animal artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the Zebra painting from Andy Warhol’s “Endangered Species” portfolio features 10 silkscreen prints of animals listed on the endangered species list in 1983. L

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 110×80 cm. Zebra profile in navy and cobalt stripes on white with pale blue-grey mist, colored vertical drips, and a mostly open lower field. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as Navy, cobalt, cerulean, and sky blue on white with orange, yellow, pink, and violet drip accents, built through Masked graphic stripes plus translucent blue washes, splatter mist, and gravity-fed vertical drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size Blue color zebra animal artwork that is homage to Andy Warhol, it is Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the Zebra painting from Andy Warhol’s “Endangered Species” portfolio features 10 silkscreen prints of animals listed on the endangered species list in 1983.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 110×80 cm. Zebra profile in violet and lilac stripes amid purple washes, fine droplets, and thin yellow-orange-red vertical drips. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues violet purple beside the near-monochrome figure. On the canvas, the colour reads as Lavender, lilac, violet, plum, and white with small golden yellow and red-orange line notes, built through Fluid purple ink-wash atmosphere with layered splatter and graphic vertical line accents over stripe stenciling. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 110×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size purple colour zebra animal artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the Zebra painting from Andy Warhol’s “Endangered Species” portfolio features 10 silkscreen prints of animals listed on the endangered species list in 1983.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 70×60 cm. Smaller zebra head with black-and-white face shifting to rainbow blue-green-yellow neck stripes, magenta-to-orange vertical drips, and pink-red mist around the head. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black, white, pale blue-grey ground, full rainbow neck gradient, magenta, violet, green, yellow, orange drips, built through Impasto textured stripes, smooth color blends on the neck, splatter halo, and controlled drip lines on canvas. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×60 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size animal artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the Zebra painting from Andy Warhol’s “Endangered Species” portfolio features 10 silkscreen prints of animals listed on the endangered species list in 1983.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. Pink Lichtenstein Whistlejacket golden-brown rearing horse over red and hot-pink geometry, radiating gold-white lines, white-blue splatter, red seal lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues hot pink beside the near-monochrome figure. On the canvas, the colour reads as Gold ochre horse, red, magenta pink, cyan teal, black, white, small orange and green accents, built through Ben-Day halftone fields, hard-edge triangles, figurative horse painting, splatter, and radiating line graphics in one square composition. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here, All Ben Day Dots effects are Stenciled by HAND, All Unique Works .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. Lichtenstein Whistlejacket gold horse leaping on charcoal ground with magenta-red diagonal bands, blue-purple radiating lines, teal stripe, halftone clusters, and red seal upper left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Metallic gold, charcoal black, magenta, cadmium red, cyan blue, purple, white splatter, lime yellow touch, built through Layered pop collage of halftone screen tones, gestural black ground, sharp geometric vectors, and gold figurative brushwork. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here, All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Inspired by George Stubbs Whistlejacket by Michael Andrew Law

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×80 cm. Grayscale landscape diptych: left panel sea of cloud below jagged peaks under turbulent sky; right panel darker foreground peaks with diffused light rays upper right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black silhouettes, silver and charcoal greys, impasto white cloud highlights only, built through Two-panel impasto oil or acrylic with palette-knife cloud mass and low horizon emphasizing stormy sky volume. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×80 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted (Yes, all three are hand painted original work by Michael Andrew Law), Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, then a few coat of fluorescent paint glazing layer, looks amazing if you stand in front of it. **These Are Two separated Canvas; Each Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Square shan shui river scene: dark karst silhouettes, calm reflective water, lone small boat midstream, heavy white fog swallowing distant peaks. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Deep black foreground forms, smoky greys, bright mist white, no chroma beyond neutral tones, built through Atmospheric monochrome landscape on visible canvas; soft mist edges, brushed ripples, high-contrast silhouettes. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with full margins: 52 x 52 cm; Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Low black mountain silhouettes under a turbulent grey sky with a bright central glow and a thin luminous winding line from lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Solid blacks, mid greys, and thick white impasto highlights in the cloud mass, built through Heavy impasto sky with multidirectional knife or brush marks and flat opaque peak shapes for dramatic tonal contrast. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. Canvas with full margins: 52 x 52 cm; Edges are painted , you will receive artwork Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 40×40 cm. Dark rolling cloud sea in the lower third, jagged horizon ridge, swirling grey-white sky with brighter wash upper left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Charcoal, black, and off-white greys throughout; strictly achromatic, built through Thick impasto cloud modeling and palette-knife texture over coarse canvas in a panoramic cloudscape format. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 40×40 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. Canvas with full margins: 52 x 52 cm; Edges are painted , Stretched and Ready to Hang. Unique Hand Painted, Signed by the artist, painted from black gesso canvas with brushes in mutiple coats of white paint layers, looks amazing if you stand in front of it. #contemporaryart #art #artist #painting #artwork #modernart #artgallery #arte #fineart #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #artoftheday #gallery #contemporaryartist #oilpainting #exhibition #contemporary #artlovers #popart #contemporaryart #artist #artwork #painting #streetart #illustration #popartstyle #urbanart #love #fineart #popculture #popartist

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 70×60 cm. Central bare-branched tree with dark trunk, canopy formed by yellow-orange splatter bursts plus magenta, pink, and green flecks, vertical drips at the base, red seal upper right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Brown-grey bark, bright yellow and orange foliage splashes, magenta and pink accents, neon green twigs, cream ground, built through Fine branch drawing with action splatter foliage, wash background, and East Asian red seal on off-white canvas. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×60 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Tree Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart. Original Art Tree painting featuring a very rare Michael Andrew Law signature stamp on Upper right.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 70×60 cm. Leafless tree with intricate twig network, explosive yellow-orange-gold canopy splatter, teal-green wash at the roots, red seal lower left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Warm yellow, orange, gold splatter with magenta-violet flecks, teal base wash, brown-grey trunk, cream background, built through Ink-line tree structure combined with blown or flicked pigment bursts and translucent ground washes. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×60 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Click "Make us an offer" are welcome, Everything are Negotiable, Singulart also offer Very Fair time payment depend on your case. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size artwork Already professionally Stretched and ready to hang , stretcher is 2 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Tree Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Commission for this style of painting are open, send us a question through our business partners at Singulart. Original Art Tree painting featuring a very rare Michael Andrew Law signature stamp on lower right.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 90×120 cm. Nude seated meditator in lotus pose, head bowed behind dark hair, centered on a large violet-purple splash with black drips below and pink flecks right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues violet purple beside the near-monochrome figure. On the canvas, the colour reads as Charcoal nude greys, royal purple and indigo burst, magenta-pink accents, off-white surround, built through Smooth anatomical shading on the figure against thrown purple washes, splatter halo, and vertical drip lines. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 90×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. *Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art purple & violet, lilac, lavender color dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the act of meditation.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 90×120 cm. Nude figure seated with knees drawn up and hands clasped near the feet, long hair down the back, face fading into a burnt-sienna wash halo. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black-white-grey body modeling with a single warm reddish-brown splash and fine peripheral droplets, built through Charcoal-like figurative drawing merged with poured sienna ink wash and splatter on white ground. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 90×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art bronze Brown Umber color dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the act of meditation.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 90×120 cm. Nude woman seated turned three-quarter away, glancing over the shoulder, nested in a cobalt-blue splash with white bubble rings left and long blue drips. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as Monochrome blue range from ultramarine to cerulean on white, white highlight and bubble outlines, built through Blended blue figure modeling with gestural splash, splatter, and drip abstraction on a clean white field. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 90×120 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Artwork, entirely Hand painted with artist quality acrylic and oil paint, along with special colorful splatter with Metallic / iridescent paint and fluorescent paint, Art fair quality looking; This Medium size pop art Blue color dominant color artwork Already professionally Stretched and ready to hang , stretcher is 2.5 CM thick sides are partially drips with paint, it is up to you to add a extra framing if you Really Wanted to. Rare Michael Andrew Law Gallery grade Fine Art Painting, Very Colorful subtle splatter are all hand painted with Extremely thin high quality acrylic layers. Referencing the act of meditation.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Donald Trump bust with eyes closed, golden Ben-Day dots across the forehead and hair, navy pinstripe suit, bright red tie, white-blue radiating beams and splatter behind. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Greyscale face, gold halftone, deep blue suit, red tie, white and light blue bursts, thin purple and green lines, built through Expressive portrait brushwork overlaid with Lichtenstein halftone screen, pinstripe masking, and street-art splatter vectors. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. I can create the same style of This artwork for you , medium size ( From 50 x 50 cm ) starting from $3000 depend on subject and number of faces and backgrounds, contact us though Singulart for specific price. Rare New Production : Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein; A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. Canvas on Stretcher and Ready for hanging. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Larry Gagosian–type portrait: elderly smiling man in dark suit and white shirt, face built from cream halftone dots, rainbow color fields and black cage-like curves behind. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Off-white and yellow dot skin, black suit, saturated blue, green, yellow, orange, and red background bands, built through Pop halftone head construction on painterly rainbow ground with bold black graphic lines and white splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas on Stretcher and Ready for hanging. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included Ben Day dots Stenciled By Hand. Please Note: All ben day dots of the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , the Holographic effects are Super Spectacular if you stand in front of it , but photograph doesn't do its justice here . This is a painting referencing to Lawrence Gilbert "Larry" Gagosian - an Armenian-American art dealer / mogul who owns the Gagosian Gallery chain of art galleries.

Michael Andrew Law paints a Monochrome Bad Painting Roy Lichtenstein-inspired screen-printed line work for Pop collector office, in acrylic and oil on canvas at 99×99 cm. Large grayscale woman's face and torso forward, small blonde anime girl on her shoulder, vertical metallic blade at the chest, pink polka-dot halftone at the lower center, color bursts at the edges. Michael Andrew Law labels the work a modern-day Lichtenstein exercise—hand screen-printed passages crossing geometric colour with photo-paintings that comment on art history and the current market. On the canvas, the colour reads as Black-white-grey portrait with neon green, yellow, cobalt, cyan, hot pink, and purple border strokes, built through Layered mixed media: textured monochrome portrait, fine-line cartoon insert, Ben-Day fields, and gestural color washes. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 99×99 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Holiday Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork; stretched after order is placed and ready for hang when arrived to your address. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing Chrissie Chau - an Extremely rare Rag to riches of a Pseudo-model story in Hong Kong, based on a controversial photo that made her famous/ infamous in asia.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Santa-hatted woman in profile gripping a sweeping black cloth, red Ben-Day dress and hat, green halftone on the fabric, white splatter on black left and grey brush right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black, white, grey ground with red and green halftone accents and sparse gold dots, built through Figurative holiday figure painted with comic halftone fills, high-contrast split background, and splatter drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with Oil , Acrylic on Linen Canvas , we sell this stretched and ready to hang. Signed and dated . Referencing to an inside joke, featuring Santa Girl on her Christmas costume suit, winter snowing with a Christmas tree rug, hand painted with Roy Lichtenstein ben day dot .

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 95×285 cm. Triptych of grayscale reclining phone users, each overlaid with different neon geometry—magenta triangle, pink stripe with yellow line, yellow fan and purple halftone—and white splatter on black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Greyscale figures with magenta, mint, cyan, yellow, orange, red, and violet graphic overlays per panel, built through Three-panel pop collage combining realistic shaded bodies, translucent color glazing, halftone stencils, and splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×285 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. This is a three panels work, EACH canvas with full margins is 108 x 108 cm, EACH; All three canvas are separated so you can make your own arrangement of how you hang them on your wall. All Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. Each Canvas with full margins 108 x 108 cm for up to 3 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaze of metallic holographic , florescent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing three Instagram photograph of Kristina Pimenova and Elizabeth Hiley poses as Kristina Pimenova.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. Side-view Asian woman in light jacket, dark skirt, black stockings and heels leaning on a post, pink-haired toon girl curled at right, gold and black halftone fields, blue diagonals, red seal lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black-grey ground, white highlights, hot pink, electric blue, orange rays, gold dots, crimson seal, built through Photo-real legs and torso with anime insert, screen-tone patterns, spray arcs, and splatter on dark canvas. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Unique Hand Painted work, based on a banned candid youtube video clip of the same name.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. Office lady striding in sleeveless top and dark skirt, head dissolved into black halftone, yellow crouching toon figure left, blue triangle upper left, magenta arcs and gold dots on black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Black field, white-grey figure, royal blue, magenta pink, golden yellow accents, built through Stencil or transfer figure with Ben-Day head fill, spray-painted color shapes, and mixed line-and-splatter overlays. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Unique Hand Painted work, based on a banned candid youtube video clip .

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 95×285 cm. K-pop dancer triptych: same model in white graphic tank and denim shorts in three poses, each with yellow toon side figure, neon green leg rays, colored halftone patches, white drips on black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Monochrome bodies on black with neon green, hot pink, yellow, royal blue, and red accents varying per panel, built through High-contrast figure painting repeated across three panels with halftone screens, spray splatter, and sharp vector lines. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×285 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique original hand paint pop art painting by Michael Andrew Law, base on K-pop viral dancing video by Korean pop music group Bambino Sung Hadam. Also featuring original character " Yui " by the artist ( The little cartoon girl, see details photographs ). + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. This is a three panels work, EACH canvas with full margins is 107 x 107 cm, EACH; All three canvas are separated so you can make your own arrangement of how you hang them on your wall. All Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. Note:This painting painted with classical painting technique and with thin glaze of metallic holographic , florescent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Sally Mann–inspired translucent male figure leaning over a table, yellow halftone disc behind the torso, neon pink verticals, blue fan, cyan bar, lime diagonal, white clouds and splatter on black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Greyscale ghost figure, golden yellow dots, neon pink, cyan, blue, lime green, white smoke strokes, built through Layered monochrome figure painting with pop halftone, hard-edge neon geometry, and gestural white atmosphere. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing an image from one of the world's most expensive artist Sally Mann's highly controversial "Immediate Family" photo series.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Pop scene: white-haired woman in white bodysuit leaning on a color-block taxi with pink hood, red side, green bumper, orange roof TAXI sign and green 5 SEATS sticker on lime ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Electric blue field, hot pink, red, yellow, lime green, black halftone left, white and black outlines, built through Bold-outline pop illustration with flat color planes, blue Ben-Day background, visible brush energy and lower-edge drips. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Michael Andrew Law futuristic paintng - " Metal Me " series; this is a real colorful early work for this series.

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 95×285 cm. Thylane triptych: reclining figure with rainbow diagonal stripes left; seated cross-legged figure under CADEAUX banner center; seated tank-top figure beside thick neon pink vertical stroke right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Greyscale figures with teal-green-yellow-orange-magenta stripes, gold and purple halftone, neon pink, cyan, yellow accents, built through Three related pop portraits combining stencil typography, masked color bands, halftone textures, and splatter drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×285 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. This is a three panels work, EACH canvas with full margins is 107 x107 cm, EACH; All three canvas are separated so you can make your own arrangement of how you hang them on your wall. All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Inspired by a series of commercials advertisement featuring Thylane Bondeau

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Cross-legged figure beneath a weathered CADEAUX serif banner, body crossed by blue, yellow, and purple halftone sheets, neon pink and orange diagonals, white-pink splatter on black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as Greyscale sitter, electric blue, bright yellow, deep purple halftone, hot pink and orange lines, black ground, built through Monochrome portrait fused with screen-printed dot fields, sharp vector diagonals, and layered street-art splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at Singulart. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Squatting dancer in white tank with red chest graphic, denim shorts, white platform heels, yellow halftone behind the head, magenta arc above, green diagonal stripes, small yellow toon on blue circle right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as Black ground, greyscale body, magenta, yellow, emerald green, sky blue, gold line fans, built through Pop portrait with Ben-Day burst, curved gold rays, green stripe masking, cartoon insert, and white star-like splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. + Make us an offer is always welcome : ) Feel free to negotiate the price with us through our dealers at ArtColiq. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein; A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing dancer Hadam from Korean group Bambino.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A monochrome female dancer in a white Rolling Stones tongue tank and blue shorts rendered with heavy blue Ben-Day halftone on the legs. A small yellow anime girl with purple hair perches on a thin white curve at right. The black ground holds large multicolor dot clusters (yellow, blue, pink), neon pink and green diagonal strokes, and white splatter on the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as black ground, grey-white figure, blue halftone shorts, hot pink and lime green accents, multicolor Ben-Day clusters, built through transparent grey-white figure on black; hand-painted Ben-Day dots, neon outlines, and paint splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein; A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing dancer Hadam from Korean group Bambino.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A dark back-view female silhouette sits at the center of a fractured geometric ground: black triangle left, magenta band top, teal wedge below. Neon pink parallel lines slash from upper right; yellow curved ticks and a red circle ring the upper left; a purple circle with green diagonals sits lower right. Gold halftone dots, white splatters, broad white sweeps, and a vertical white drip cross the torso. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, magenta, teal, gold halftone, neon pink, yellow, purple, white splatter, built through masked color fields and halftone screen; gestural white brushwork and controlled drip over silhouetted figure. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painted work with All Lichtenstein style Ben Day Dots effects are Stenciled by HAND. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Canvas on 1.7 cm thick Stretcher and Ready for hanging. Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A seated woman reads a book, legs extended toward the lower left in high-contrast grey-white paint. Two wide magenta diagonals cut the field; a vertical blue strip with yellow Ben-Day dots runs along the right. Yellow circle and radiating yellow lines frame the scene; teal diagonal, white scribbles, drips, and yellow halftone over the face complete the overlay. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white reader, magenta bands, royal blue and lemon yellow Ben-Day, teal line, built through figurative grey-white painting with hard-edge color blocks, halftone screening, and splatter/scribble marks. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein; A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing a Instagram photograph of Kristina Pimenova.

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×282 cm. A horizontal triptych of three nude grey-white bathers on dark grounds. Left: crouching lunge with cyan arc, thick red diagonal, and pink-white gestural marks. Center: figure seen from behind over gold upper field and solid magenta block, blue arc and halftone at sides. Right: curled fetal pose with sweeping white trails, red slash, and halftone accents. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black and ochre panels, grey-white bodies, cyan, magenta block, red diagonals, blue arcs, built through three-panel monochrome figure study with flat color blocking, halftone overlays, and expressive brush/splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×282 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing an Found images of Pop Culture.

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×188 cm. A two-panel vertical composition pairs seated yellow leopard-spotted women with standing male figures in blue Ben-Day halftone. Left panel: magenta and red diagonal stripes, blue curve, yellow radiating lines, red seal lower left. Right panel: large off-white X, blue dotted man, blue diagonals, and heavy white drip/splatter across both. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, ochre-yellow spotted figure, magenta and red stripes, blue Ben-Day, white splatter, built through diptych mixing hand-painted spots, halftone figures, stenciled stripes, and drip/splatter street-art finish. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×188 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works; Canvas with Full Margins are 108x108cm, Actual artwork after stretched should be around 94x94cm to thick stretcher. Please Note: All the Blue, brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, also with Silver Glitter , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Taken from a famous woman female film Chinese star Ruan Lingyu China cinema movie scene wearing a Chinese dress.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. A dark-skinned seated figure in a white grid-textured garment kneels at center, largely crossed by parallel orange and yellow diagonal bars. Black ground carries white splatter, upper halftone field, purple and magenta bars, teal ticks, and sweeping white brushstrokes around the body. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, orange and yellow stripes, dark brown skin, white garment grid, purple, magenta, teal accents, built through figurative torso with hard-edge stripe overlays, halftone band, and gestural white splatter/brushwork. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Ben Day Dots effects are Stenciled by HAND, All Unique Works . Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images, most often translate to painterly works directly from a photographic source. Law makes use of mixed-media, combining materials more commonly associated with ‘graffiti’ art such as spray paints, cut-out stencils, then the artist builds up multi-colour layers within much of his work, using pop and cartoon artistic language, this series of work is often comment on pop culture and our place/meaning in society.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A young girl with bangs sits legs toward lower left in a high-contrast patterned dress on a hot pink sunburst ground. Gold-black halftone halo sits behind her head; orange arc left, green diagonals right, blue and cyan horizontal bands along the bottom, with dense white and black splatter around the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as hot pink radiating ground, black-and-white dress, gold halftone, orange, green, royal blue, cyan, built through monochrome figurative portrait on fluorescent field with halftone screen, stenciled rays, and splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included Screenprinted and Stencils By Hand. Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images, most often translate to painterly works directly from a photographic source. Law makes use of mixed-media, combining materials more commonly associated with ‘graffiti’ art such as spray paints, cut-out stencils, then the artist builds up multi-colour layers within much of his work, using pop and cartoon artistic language, this series of work is often comment on pop culture and our place/meaning in society.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A yellow leopard-spotted woman crouches in profile beside a blue Ben-Day male silhouette. A large textured silver-grey X dominates the right; sharp blue diagonals cut the black field. White drips and splatter pool along the bottom; a small yellow shape accents upper left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, spotted yellow, silver-grey X, bright blue dots and lines, white drip, built through pop halftone and stencil geometry over spotted figure painting with drip and splatter finish. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works .. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Taken from a famous cinema Chinese woman film star Ruan Lingyu movie scene.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. The same seated yellow spotted woman faces right inside a rough white-painted rectangular frame. Hot pink and red diagonals radiate behind her; yellow burst upper right, thin blue arc, white circles, halftone shading, and drip/splatter throughout. A red square seal with white symbols sits lower left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, golden yellow spots, hot pink and red stripes, white frame, blue arc, red seal, built through hand-painted leopard figure with framed border, Ben-Day texture, and layered graphic stripes/splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works .. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Taken from a famous Ruan Lingyu movie scene.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. A large golden-brown reclining figure spans the lower canvas, partially screened by white Ben-Day dots. A small bright yellow anime girl with white hair curls at right on a grey cloud. Translucent blue trapezoids and magenta radiating lines cut the starry black splatter field; blue diagonal stripes fill lower left with white gestural strokes and a thin red circle. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black splatter ground, gold-brown figure, white Ben-Day, cyan blue beams, magenta lines, yellow anime accent, built through layered figurative paint with halftone overlay, geometric color beams, and street-art splatter/drip. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas small-format Audrey or icon triptych set for corridor salon hang, in acrylic and oil on canvas at 94×285 cm. Three square panels repeat a seated golden-tan figure with crossed legs and raised hand. Left: magenta and pink diagonals with magenta arc and white splatter. Center: blue and cyan shards and horizontal blue bar, small yellow-white standing silhouette at right. Right: orange and yellow parallel stripes with thick white strokes and dense splatter; halftone appears behind each head. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as triptych black grounds, gold skin, magenta, blue-cyan, orange-yellow, white splatter, built through triptych figurative panels each with distinct hard-edge stripe colorway and halftone/splatter overlays. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits narrow corridors, bedside triptych hangs, or salon walls needing rhythm in small modules. The 94×285 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Special Three Panels All Hand Painted included All Ben Day Dots effects are Stenciled by HAND, Three separate canvas with full margins 107 x 107 cm EACH. Based on a found photograph depicting a female girl woman body, all yellow colours seen here are Copper paint, Gold paint and Bronze paint , Blue are also in iridescent purple blue, pink are painted with Holbein acrylic fluorescent paint (same brand used by Murakami Takashi's studio) , all works painted with thin coat of oil and Metallic / iridescent Acrylic paint, photo reproduction won't and unable to do justice here.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A kneeling nude seen from behind fills the square: grey-white buttocks and back modeled with strong highlight. Upper black field holds gold-yellow Ben-Day halftone; a solid magenta block anchors the bottom. Cyan radiating lines left, cyan arc right, thin teal and red circles, and white splatter above complete the scene. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grey-white body, gold Ben-Day, magenta block, cyan lines, teal and red rings, built through monochrome bather study with flat magenta base, halftone screen, and precise neon line accents. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing an image from Found images of Pop Culture.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A reclining reader extends pale socked legs left while white and light-blue strokes obscure the upper body. A yellow fan of radiating lines rises upper right inside a yellow circle; orange-yellow and magenta-purple halftone corners frame the dark field. White and pink drips, yellow and white scratch lines, and thick white impasto with a painted MA mark sit lower center. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal black, grey-white figure, cadmium yellow burst, orange and magenta halftone, pink and white drip, built through figurative reclining pose buried under halftone corners, radiating line stencil, impasto, and drip/splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein; A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing a Instagram photograph of Kristina Pimenova.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. A grayscale young woman with intense gaze sits cross-legged in white halter and dark bottoms. Hot pink diagonal band cuts the left; deep blue shape lower right; mustard-yellow Ben-Day halo behind head and shoulders. Yellow and pink radiating lines, orange and white splatter, and a MAL signature near the hip finish the square. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grayscale portrait, hot pink, navy blue, mustard Ben-Day, yellow and pink rays, built through detailed monochrome portrait with halftone halo, hard-edge color bands, and splatter accents. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A crouching grey-white figure looks up and back against near-black ground. Broad white sweeps and fine splatter/drips race across the body. Blue arc over the head, blue radiants from top center, red diagonal slashes in corners, and pink, blue, and ochre halftone patches follow the limbs; thin blue and red circles scatter throughout. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grey-white figure, white gesture, bright blue, crimson red, pink and ochre halftone, built through high-contrast bather pose with gestural white overlays, halftone patches, and neon line geometry. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painted work with All Lichtenstein style Ben Day Dots effects are Stenciled by HAND. This Canvas with full margins 108x108cm for up to 6 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic pigment, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A monochrome girl rests her head on her hand, gazing forward. Faint stenciled CADEAU text appears upper left. Rainbow diagonal bars (teal-green-yellow-orange upper right; purple-pink-red-orange lower right) cross fields of blue, yellow-orange, and magenta Ben-Day dots. Long white drips fall from the figure; a partial monochrome leg/shard appears at the far right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grey portrait, multicolor diagonal bars, blue/yellow/magenta Ben-Day, white drips, built through realist monochrome face with layered halftone fields, gradient stripe stencils, and vertical drip marks. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painted work with All Lichtenstein style Ben Day Dots effects are Stenciled by HAND. This Canvas with full margins 108x108cm for up to 6 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic pigment, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. Golden-ochre legs and feet stretch horizontally across the lower middle on a textured black wash. Large hot pink diagonal bands—some with internal pinstripes—cross the field with a golden arch upper left, orange circle, pink verticals, and purple diagonals. Yellow Ben-Day disc upper left; white splatter and translucent white swirls activate the ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black wash, ochre-gold legs, hot pink bands, yellow Ben-Day, orange ring, purple lines, white splatter, built through figurative leg study under hard-edge pink geometry, halftone disc, and gestural white swirl/splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A monochrome woman reclines diagonally in boots, highlighted white against black shadow. Behind her, yellow-orange-pink diagonal stripes run top left to bottom right; two teal beams cut the upper right. Metallic gold texture fills the upper corner; black Ben-Day dots grid the lower stripe zone with a dark left border of twin white lines. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grey-white figure, yellow-orange-pink stripes, teal beams, gold metallic, black Ben-Day, built through high-contrast reclining figure over metallic leaf, masked stripes, and halftone dot screen. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works .. Michael Andrew Law futuristic painitng - " Metal Me " series Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A crouching female figure appears doubled: bright white highlight version with a darker offset shadow, long hair flowing, high-top sneakers visible. Black ground left carries a fading grid of small red dots; two thick red diagonals slash the right with vertical signature text along one stripe. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, white and grey figure, primary red stripes and dot grid, built through impasto white highlights on duplicated pose with stenciled red diagonals and halftone dot field. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Michael Andrew Law futuristic painitng - " Metal Me " series Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 155×155 cm. A chocolate-brown and white female figure dances or falls amid fractured color planes: lemon yellow, magenta, cobalt blue, and sienna shards with dragged vertical streaks. Lime green, orange, and turquoise splatters and impasto blobs pepper the large square surface around the central body. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as sienna and chocolate figure, lemon yellow, magenta, cobalt blue, lime and turquoise splatter accents, built through large-format action painting with masked geometric fields, squeegee-like streaks, and heavy splatter/impasto. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works, super bright Artist oil and acrylic Paint . Michael Andrew Law futuristic painitng - " Metal Me " series, this price here is sold without a stretcher, Canvas with full margins is 170x170cm and can stretch on up to 5 cm thick stretcher. Please Note: Some of the Blue, Green or turquoise colours seen here, is actually in Metallic or iridescent Paint , it looks Spectacular, with a little reflective metallic texture to it if you stand in front of it , but photograph doesn't do its justice here; all splatter are hand painted and outlined if you take alook at detail pictures.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. A grey-white figure floats horizontally above a dark textured rock mass on black ground. Three sharp red triangular rays aim upward from behind the body; a large downward red Ben-Day triangle sits center. Signature text runs along the right side of the rock base. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, grey-white body, dark rock, saturated red rays and Ben-Day triangle, built through monochrome floating figure on impasto rock with flat red rays and halftone triangle. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Metal Me Series

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×282 cm. A triptych of metallic grey-white figures in dynamic poses. Left: seated crouch with ghost double and red dot grid plus twin red diagonals on black. Center: reclining figure over yellow-orange-pink stripes, teal beams, gold field, and bottom Ben-Day grid. Right: horizontal diver with shadow below, radiating red stripes and corner red dot triangle. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as triptych black grounds, grey-silver figures, red graphics; center adds yellow, pink, teal, gold, built through three-panel high-contrast figure study pairing impasto bodies with stenciled stripes, dots, and rays. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×282 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Series batch: Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Lichtenstein *All Hand Painted included All Lichtenstein style Ben Day Dots effects are Stenciled by HAND, All Unique Works . Michael Andrew Law futuristic painitng - " Metal Me " series. **We sold this WITHOUT stretchers, this is a THREE Panels artwork, which will require Three Stretchers . ***All the brown or yellow colors seen here, is actually in Metallic / iridescent Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here .

This is a bundle artwork item, availability might subject to occasion and time.

Michael Andrew Law paints a Monochrome Canvas small-format Audrey or icon triptych set for corridor salon hang, in acrylic and oil on canvas at 94×285 cm. Outer panels show a young Jackie Chan–like portrait in golden yellow and black against exploding red, pink, and purple radiating stripes with blue splatter and small square insets. Center panel: mustached man in beanie rendered in grey Ben-Day halftone amid white gestural sweeps and blue-green-pink diagonal stripes with fine web lines. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, gold-yellow portraits, red-pink-purple rays, grey halftone center, blue-green accents, built through triptych mixing stencil-like golden portraits, halftone comic head, radiating line backgrounds, and splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits narrow corridors, bedside triptych hangs, or salon walls needing rhythm in small modules. The 94×285 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Special Three Panels All Hand Painted included All Ben Day Dots effects are Stenciled by HAND, Three separate canvas with full margins 107 x 107 cm EACH. Based on a found photograph depicting Death of Bruce Lee, and poster his successor Jackie Chan's most famous movie Drunken Master II , both often consider as the the most famous actors celebrities film star of Ku Fu action movies in world cinema.

Michael Andrew Law paints a Monochrome Canvas currency portrait study with brown-gold ground for finance collector office, in acrylic and oil on canvas at 94×94 cm. A chest-up Mao Zedong turns slightly left in Warhol-like color blocking: lime-green face, hot-pink lips, magenta high-collared suit, dark brown hair, and solid sky-blue background. Heavy dark shadows carve eyes, nose, and jaw with visible brush texture throughout. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues hot pink beside the near-monochrome figure. On the canvas, the colour reads as lime green face, magenta suit, sky blue ground, dark brown hair, pink lips, built through painterly pop portrait with flat color blocks and high-contrast brushmodeled features. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. If you wish to commission one of a kind Michael Andrew Law painting like this, Click " Commission this artist " button on this page. #warhol #art #andywarhol #popart #contemporaryart #artist #modernart #basquiat #painting #streetart #andywarholart #newyork #picasso #photography #artwork #gallery #keithharing #andywarholmuseum #pop #s #nyc #fineart #pollock #artoftheday #instaart #banksy #jeanmichelbasquiat #abstractart #haring

Michael Andrew Law paints a Monochrome Canvas currency portrait study with brown-gold ground for finance collector office, in acrylic and oil on canvas at 94×94 cm. Mao faces left with golden-yellow skin and ochre shadows, turquoise-blue lips, and cobalt-blue Mao suit. Black hair is ringed by a soft blue halo bleeding into a pale pink, cross-hatched background. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as gold-yellow skin, cobalt suit, turquoise lips, pink ground, blue hair halo, built through expressive pop portrait with soft glow edges and textured directional background strokes. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All yellow colours seen here, is actually in Metallic Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . If you wish to commission one of a kind painting like this, Click " Commission this artist " button on this page.

Michael Andrew Law paints a Monochrome Canvas street-art homage with stencil logic for urban contemporary apartment, in acrylic and oil on canvas at 94×94 cm. After Banksy's Flower Thrower, a dark navy silhouette lunges left while thick white gestural arcs and splatter explode around the limbs. A small multicolor flower cluster (yellow, green, cyan, red) sits at the throw point on deep cobalt blue. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as cobalt blue ground, navy silhouette, white splatter and strokes, small multicolor bouquet, built through stencil-like figure defined by white action painting splatter and drip on saturated blue field. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Based on a Banksy drawing first appeared on a wall on the side of a garage on the highway from Beit Sahour opposite Citroen/Peugeot car dealership in Jerusalem. The man in the painting is wearing a scarf and a baseball cap and appears to aim the flowers at someone(s) in rage.

Michael Andrew Law paints a Monochrome Canvas street-art homage with stencil logic for urban contemporary apartment, in acrylic and oil on canvas at 95×95 cm. The same thrower pose reads as negative space in deep maroon, limbs outlined by heavy white impasto sweeps and splatter. Tiny yellow, blue, and red flecks appear in the head area; MAL 2017 signature sits lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as burgundy maroon, opaque white gesture, micro accents of yellow blue red, built through abstract expressionist reinterpretation with impasto white on dark red and minimal color flecks. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×95 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Canvas with Full margins is 108 x 108 cm for gallery wrapped canvas stretcher Based on a Banksy drawing first appeared on a wall on the side of a garage on the highway from Beit Sahour opposite Citroen/Peugeot car dealership in Jerusalem. The man in the painting is wearing a scarf and a baseball cap and appears to aim the flowers at someone(s) in rage.

Michael Andrew Law paints a Monochrome Canvas street-art homage with stencil logic for urban contemporary apartment, in acrylic and oil on canvas at 94×94 cm. A bandana-masked caped figure hurls a bouquet in Banksy's Love Is in the Air pose, rendered as black silhouette on dark ground. Thick white arcs, splatters, and long vertical drips surround the body; muted green foliage with slight blue hints is the only color. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black and deep grey, white impasto motion, sage and forest green bouquet, built through graphic stencil figure fused with gestural white splatter, drip, and impasto highlights. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. A Unique Hand Painted artwork. This Canvas with full margins 108 x 108cm for up to 6 cm thick gallery wrapped canvas stretcher. Based on a Banksy drawing first appeared on a wall on the side of a garage on the highway from Beit Sahour opposite Citroen/Peugeot car dealership in Jerusalem. The man in the painting is wearing a scarf and a baseball cap and appears to aim the flowers at someone(s) in rage. Please Note : This particular painting is purposely priced Higher than colour Red and colour Blue from the same series .

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. Mona Lisa sits three-quarter with crossed hands, but skin is neon green, lips hot pink, and dress intense magenta on a mottled blue textured ground. Dark hair carries a thin gold rim-light along the left edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as neon green skin, hot pink lips and dress, mottled blue background, dark hair, gold highlight, built through pop color-swap portrait with flat figure paint and heavy impasto blue background texture. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. Mona Lisa appears waist-up with golden-ochre glowing face and hands, electric-blue dress, dark hair in soft blue haze, and cyan lip accent. Background shifts pale peach pink to navy charcoal with thin vertical drips at the sides; blue signature lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as gold ochre skin, electric blue garment, peach-to-navy background, cyan lip, blue drips, built through soft sfumato edges and atmospheric ground with expressive brushwork and side drip marks. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Each Canvas with Full margins is 108 x 108 cm for gallery wrapped canvas stretcher, sell as triptych. Limisted Time Offer here ! , Get Full Set with special price , if any one get sold then this offer has to off the table. Based on a Banksy drawing first appeared on a wall on the side of a garage on the highway from Beit Sahour opposite Citroen/Peugeot car dealership in Jerusalem. The man in the painting is wearing a scarf and a baseball cap and appears to aim the flowers at someone(s) in rage.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. A tight Mona Lisa face crop glows yellow-gold on black with a light-blue surgical mask over mouth and nose. Burnt-orange and brown gestural sweeps left; white, yellow, and blue splatter/drips layer the surface with a thin white arc crossing lower field. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues turquoise aqua beside the near-monochrome figure. On the canvas, the colour reads as gold-yellow face, black ground, light blue mask, burnt orange, white splatter, built through impasto portrait with applied mask element, splatter/drip, and warm gestural flank strokes. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Special masked edition of installation art with this spectacular painting, All blue, brown, red and yellow colours seen here, is actually in Metallic Turquoise, Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . The Mona Lisa has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. Mona Lisa's face is rendered in saturated gold-yellow on matte black with a rough gold halo of scumbled strokes. Dense gold and white splatter and drips concentrate in the lower corners, energizing the classical likeness. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as matte black, bright gold-yellow portrait, white splatter accents, built through high-contrast gold portrait with gestural halo, flicked splatter, and trailing drips. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All blue, brown, red and yellow colours seen here, is actually in Metallic Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. Mona Lisa's face is built in thick golden ochre impasto preserving the enigmatic smile. Deep black hair and ground contrast salmon-pink background sweeps and a heavy yellow-white splatter field, especially left; gold calligraphic mark upper right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as black, golden ochre face, salmon pink ground, yellow-white splatter, built through impasto facial modeling with gestural pink background and action splatter overlay. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All blue, brown, red and yellow colours seen here, is actually in Metallic Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 100×100 cm. Two golden-yellow hands rest and overlap on near-black ground—larger hand center-right, smaller lower left—with ochre shadows and white highlights. Yellow splatter, thin cyan arcing lines, and a reddish-brown signed patch appear below the hands. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as black ground, gold and ochre hands, cyan lines, yellow splatter, sienna signature patch, built through impasto hand study with splatter, gestural cyan lines, and high-contrast chiaroscuro. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All blue, brown, red and yellow colours seen here, is actually in Metallic Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Canvas on 1.7 cm thick Stretcher and Ready for hanging. Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 100×100 cm. A large golden-yellow hand form dominates against deep maroon, fingers reaching lower right; a smaller hand shape sits beneath. Yellow and white splatter, arcing lines, and pink-orange edge strokes frame the composition; scratched MA mark appears in the upper gold area. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as maroon ground, golden yellow hands, white and pink-orange gestures, charcoal shadow, built through abstracted hand pastiche with impasto, splatter, sgraffito mark, and layered edge brushwork. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All blue, brown, red and yellow colours seen here, is actually in Metallic Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Canvas on 1.7 cm thick Stretcher and Ready for hanging. Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 100×100 cm. Two glowing yellow-gold hands on solid black—large hand center-right, smaller lower left—with splatters of gold and reddish brown. A single sharp vertical cyan line cuts the right margin against the warm forms. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues turquoise aqua beside the near-monochrome figure. On the canvas, the colour reads as black void, gold-yellow hands, ochre shadow, cyan accent line, brown splatter, built through gestural impasto hands with splatter and one hard-edge neon line on black. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All blue, brown, red and yellow colours seen here, is actually in Metallic Turquoise, Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Canvas on 1.7 cm thick Stretcher and Ready for hanging. Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. Mona Lisa's face emerges from black, modeled in metallic gold with a thin gold line across the forehead. The surround is dense with gold splatter and drip, plus scattered white, blue, and pink droplets; gold graffiti-like tag upper right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues turquoise aqua beside the near-monochrome figure. On the canvas, the colour reads as black, metallic gold face, gold splatter, white blue pink micro-accents, built through graphic gold portrait with metallic paint, splatter field, and street-art tag accent. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All blue, brown, red and yellow colours seen here, is actually in Metallic Turquoise, Bronze, Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas. The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 155×155 cm. Full Mona Lisa bust glows golden-yellow with dark clothing against black atmospheric ground. Vertical dark drips cascade the canvas; upper background flares orange-red like sunset; fine yellow-white star-like splatters pepper the surface. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues violet purple beside the near-monochrome figure. On the canvas, the colour reads as gold-yellow skin, black and umber ground, crimson-orange upper glow, lemon splatter dots, built through large pastiche portrait with drip lines, flicked star splatter, and luminous glazing on figure. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Mona Lisa A pastiche 3 in Gold, Copper, Red, Purple, Two type of Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic and Glitter ) on Canvas; 155x155cm The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 155×155 cm. Mona Lisa waist-up on very dark ground: pale gold face, peach-pink cloud behind the head, gold-yellow splatter stars, thin white and electric-blue linear streaks, and a heavy red-brown horizontal stroke anchoring the lower edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as dark brown-black, pale gold face, peach pink halo, gold splatter, red-brown base stroke, blue accents, built through layered classical pose with splatter stars, gestural lines, and broad bottom impasto band. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 155×155 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Mona Lisa A pastiche 2 in Gold, Copper, Red, Turquoise and Silver Mixed Media ( Oil, Metallic Acrylic, Emulsion and Glitter ) on Canvas; 155x155cm The Mona Lisa (/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance,and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A young Jackie Chan–like bust faces forward in gold-highlight/black-shadow posterization with bowl-cut hair. Hot pink sunburst lines radiate from the top; yellow circle left; small blue-red seal upper right; blue shards, white-pink splatter, halftone grid, and drips along the bottom. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as hot pink radiants, gold and black portrait, red purple orange rays, blue shards, white splatter, built through high-contrast stencil portrait on radiating line background with halftone, splatter, and drip. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. All Hand Painted included Screenprinted By Hand. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images, most often translate to painterly works directly from a photographic source. Law makes use of mixed-media, combining materials more commonly associated with ‘graffiti’ art such as spray paints, cut-out stencils, then the artist builds up multi-colour layers within much of his work, using pop and cartoon artistic language, this series of work is often comment on pop culture and our place/meaning in society.

Michael Andrew Law paints a Monochrome Bad Painting Roy Lichtenstein-inspired screen-printed line work for Pop collector office, in acrylic and oil on canvas at 100×100 cm. A black-and-white mustached man in beanie—Bruce Lee death-mask likeness—with halftone dots across the upper head. Thick white halo strokes, splatter, and drips surround the face. Blue diagonal bar cluster upper left, wide translucent magenta band, and thin green, yellow, red, orange radiating lines with purple and blue circles on the right. Michael Andrew Law labels the work a modern-day Lichtenstein exercise—hand screen-printed passages crossing geometric colour with photo-paintings that comment on art history and the current market. On the canvas, the colour reads as black and grey portrait, white gestural halo, magenta band, blue bars, multicolor line accents, built through halftone head on black with impasto white aura plus masked geometric color overlays. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork. Canvas on 1.7 cm thick Stretcher and Ready for hanging. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Bruce Lee (American Actor) in his casket.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A Bruce Lee–like martial portrait in gold-yellow and black Ben-Day halftone stands arms crossed center. Red, fuchsia, and purple diagonal stripes explode behind him; small white-haired anime girl perches on a pink stripe right. Red square seal upper right, white radiating lines, teal diagonal, blue textured patch, drips and scuffs below. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black, gold halftone figure, red and fuchsia stripes, purple, blue patch, white line work, built through halftone stencil portrait with striped ground, anime accent, seal mark, splatter and drip finish. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. All Hand Painted included Screenprinted By Hand. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images, most often translate to painterly works directly from a photographic source. Law makes use of mixed-media, combining materials more commonly associated with ‘graffiti’ art such as spray paints, cut-out stencils, then the artist builds up multi-colour layers within much of his work, using pop and cartoon artistic language, this series of work is often comment on pop culture and our place/meaning in society.

Michael Andrew Law paints a Monochrome Bad Painting Roy Lichtenstein-inspired screen-printed line work for Pop collector office, in acrylic and oil on canvas at 95×95 cm. A large yellow Ben-Day dotted rounded form—like a head or torso—anchors center on black splatter ground. Hot pink vertical band left with faint red Nike swoosh; blue and purple bands right; thick green diagonal along bottom. Thin looping lines in blue, green, red, and orange, orange circle, orange ladder bars upper left, and multicolor corner speed lines crowd the square. Michael Andrew Law labels the work a modern-day Lichtenstein exercise—hand screen-printed passages crossing geometric colour with photo-paintings that comment on art history and the current market. On the canvas, the colour reads as black white splatter base, yellow Ben-Day center, neon pink blue green purple orange accents, built through mixed-media pop collage of halftone figure, masked color bars, logo hint, and gestural splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×95 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get . Referencing Chrissie Chau - an Extremely rare Rag to riches of a Pseudo-model story in Hong Kong, based on a controversial photo that made her famous/ infamous in asia.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. Audrey Hepburn as Holly Golightly appears in shattered geometric shards: large monochrome face with bangs and liner, cyan shard with cigarette holder, flesh-toned eye shard, and glitter panels in hot pink, lime green, and royal purple. Scattered yellow, orange, and white dots sparkle across the facets. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black white grey portrait shards, cyan blue, hot pink and lime glitter, purple glass, confetti dots, built through fragmented pop portrait with masked panels, glitter/resin texture, and high-gloss shattered collage. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork. This Canvas with full margins 108x108cm for up to 6 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×150 cm. Two English bulldogs fill the lower canvas: a larger dog faces forward at left, a smaller one sits at right in three-quarter view. Both are modeled in grey-white on black with heavy facial wrinkles and strong highlights. A dark horizontal band sits behind them; white splatters and long vertical drips run beneath it. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white figures, white splatters and drips, built through transparent monochrome oil on black; impasto highlights, splatter and drip finish. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×150 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. All Unique Hand Painted Artworks, Extreme-Spectacular "Abstract-Realism" paintings. Commission are open for this style, small size canvas starting from usd$2500, contact Artcoliq for specific pricing .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 95×95 cm. A woman seen from behind wears a short skirt filled with blue Ben-Day dots; legs cross at the ankles on a white shelf. A small orange cartoon girl perches on a white stroke at right. Hot pink and orange radiating lines, blue arcs, gold and pink halftone fields, and white drips layer over a near-black ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as black-brown field, grey-white figure, electric blue, hot pink, orange, gold halftone, built through grey transparent figure plus hand-painted Lichtenstein dots, neon lines and poured white strokes. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×95 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein; A Unique Hand Painted artwork including Ben Day Dots that are Stenciled by Hand with metallic acrylic paint. This Canvas with full margins 108x108cm for up to 5 cm thick gallery wrapped canvas stretcher. Note:This painting painted with classical painting technique and with thin glaz of metallic holographic , flourecent pigment, and glitter, which looks spectacular in real life, photo can never capture the effects and its as unique as unique can get .

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 100×100 cm. Grey arms and hands reach across the center beside a head overlaid with ochre Ben-Day dots and fine gold arcs. A magenta triangle fills the upper left; a teal trapezoid and yellow line sit upper right. White splatters and long drips pool along the bottom edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, grey limbs, magenta, teal, blue diagonal, gold halftone, white splatter, built through soft grey figure painting with stenciled Ben-Day dots, hard-edge geometry and drip/splatter overlay. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Please Note: All the brown or yellow colours seen here, is actually in Metallic Copper and Gold Paint, Grey colour actually is Silver Glitter with resin , it looks Spectacular if you stand in front of it , but photograph doesn't do its justice here . Unique hand painted work with All Lichtenstein style Ben Day Dots effects are Stenciled by HAND.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. Audrey Hepburn's face fractures into angular shards as if through broken glass, with a large open eye and vintage liner in one shard. Royal blue, turquoise and purple fields fill the gaps; glittered areas sparkle in corners. Thick dark crack lines and small orange-white splatters cross the surface. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey portrait shards, royal blue, turquoise, purple, iridescent glitter, orange splatter, built through shattered-mirror collage layout; smooth grey face painting with glitter fields and graphic crack lines. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein A Unique Hand Painted artwork. This Canvas with full margins 108 x 108cm for up to 6 cm thick gallery wrapped canvas stretcher. Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images, most often translate to painterly works directly from a photographic source. Law makes use of mixed-media, combining materials more commonly associated with ‘graffiti’ art such as spray paints, cut-out stencils, then the artist builds up multi-colour layers within much of his work, using pop and cartoon artistic language, this series of work is often comment on pop culture and our place/meaning in society.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. Multiple Marilyn Monroe fragments abut under sharp electric-blue broken-glass lines. Left shows her in a sequined dress on hot pink; center and right split warm gold hair from grey face with red lips. A grainy monochrome face shard sits top right with two small gold dots. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as hot pink panel, black, grey, gold, electric blue fracture lines, red lip accent, built through pop collage of painted and photographic Monroe passages with hard blue shard dividers. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Modern Day Roy Lichtenstein - Michael Andrew Law Cheuk Yui in the Style of Roy Fox Lichtenstein All Hand Painted included Screenprinted and Stencils By Hand. Most artworks of this series were unique hand painting and then later over-paint and collages with silk screens using graphic design, printmaking and sometimes mixed media collages; Law uses found images, most often translate to painterly works directly from a photographic source. Law makes use of mixed-media, combining materials more commonly associated with ‘graffiti’ art such as spray paints, cut-out stencils, then the artist builds up multi-colour layers within much of his work, using pop and cartoon artistic language, this series of work is often comment on pop culture and our place/meaning in society.

Michael Andrew Law paints a Monochrome Canvas street-art homage with stencil logic for urban contemporary apartment, in acrylic and oil on canvas at 94×94 cm. The word BANKSY appears in bold black stencil capitals across a wide horizontal white brush band. The surrounding field is solid black with scattered white splatters and dots. Thin white drips hang from the lower edge of the white band; a signature and date sit on the stroke at lower left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, white gestural band, black stencil lettering, built through stencil typography on thick white impasto stroke; splatter and controlled vertical drips. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Painted with oil , acrylic powder on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Referencing to Banksy Tag Name Signature , Banksy is an anonymous England-based street artist, vandal, political activist, and film director, active since the 1990s.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 110×100 cm. Michelangelo's Moses is shown chest-up in sharp side profile, beard in tight curls and brow furrowed. His muscular right arm rests on two vertical stone tablets. Strong light from upper left models robe folds and anatomy against an otherwise flat black void. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, cool grey to white highlights on figure, built through monochrome transparent oil after sculpture; high chiaroscuro, detailed beard and drapery. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 110×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painted artwork, sell without stretcher for shipping economically, choose frame option before checkout. This art only available for limited time. Inspired by Moses sculpture by the Italian High Renaissance artist Michelangelo, collection of the church of San Pietro in Vincoli in Rome. The original sculpture commissioned in year 1505 by Pope Julius II , it depicts the biblical figure Moses with horns on his head, based on a description in Jewish Torah or old testament chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time.

Michael Andrew Law paints a Monochrome Canvas Hong Kong nostalgia portrait with restrained colour ground for cultural institution wall, in acrylic and oil on canvas at 94×94 cm. Queen Elizabeth II faces left in profile wearing a crown, earring and necklace, rendered in grey-white on black. A large dripping gold dollar sign dominates the left half. Gold and white splatters scatter across the black ground around both motifs. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, grey-white portrait, metallic gold dollar sign and splatters, built through grey transparent portrait with thick gold impasto symbol, splatter and drip accents. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painting by Oil and acrylic on canvas, painted entirely with metallic paint. Elizabeth II (Elizabeth Alexandra Mary Windsor; born 21 April 1926) is Queen of the United Kingdom and the other Commonwealth realms. Elizabeth was born in London as the first child of the Duke and Duchess of York, later King George VI and Queen Elizabeth, and she was educated privately at home. Her father acceded to the throne on the abdication of his brother King Edward VIII in 1936, from which time she was the heir presumptive. She began to undertake public duties during the Second World War, serving in the Auxiliary Territorial Service. In 1947, she married Philip, Duke of Edinburgh, a former prince of Greece and Denmark, with whom she has four children: Charles, Prince of Wales; Anne, Princess Royal; Prince Andrew, Duke of York; and Prince Edward, Earl of Wessex.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. A smiling man in a dark suit, white shirt and diagonally striped tie fills the frame. His face, hair and collar carry thick white highlights and looping scribble lines. White splatters and vertical drips cross the deep burgundy-red ground; a signature sits on the collar. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as burgundy-red field, black suit, white highlights and splatter, built through expressive portrait on red ground; impasto white accents, gestural lines and drips. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Larry Gagosian; an American art dealer / mogul who owns the Gagosian Gallery chain of art galleries.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. A close portrait of a broadly smiling older man with short textured hair and a white collar shirt. Extreme white highlights rim the forehead, nose and cheeks against deep black. White splatters ring the head; the letters MAR appear on the collar and a loopy white line crosses lower right. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as black ground, grey-white face, white splatter, built through high-contrast monochrome portrait; splatter field and quick linear graffiti marks. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Larry Gagosian; an American art dealer / mogul who owns the Gagosian Gallery chain of art galleries.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. The same smiling man appears head-and-shoulders in a blue-and-white treatment only: navy-to-cobalt background, white shirt and teeth, grey-blue shadows in the face. Small white splatters dot the entire surface. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. The catalogue title cues cobalt blue beside the near-monochrome figure. On the canvas, the colour reads as ultramarine to cobalt blue field, white highlights, grey-blue shadows, built through monochrome blue variant portrait; bold brush modeling and white splatter overlay. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Larry Gagosian; an American art dealer / mogul who owns the Gagosian Gallery chain of art galleries.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. Black capitals spelling GAGOSIAN GALLERY sit centered on a luminous horizontal white cloud. The surrounding black is filled with grey nebula-like strokes, star-like splatters and a few vertical drips. A graffiti-style signature appears under the first letters at lower left. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as black ground, grey-white atmospheric strokes, black typography, built through gestural monochrome ground with crisp stenciled or painted gallery lettering. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Gagosian Gallery's company logo, Gagosian is a contemporary art gallery owned and directed by Larry Gagosian.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. GAGOSIAN GALLERY in black sans-serif caps rests on a compact explosive white mass with feathered edges and peripheral splatters. The black ground remains mostly flat outside the central burst. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as black field, scumbled grey-white burst, black lettering, built through tight white impasto explosion behind hard-edge typography; edge splatter only. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Gagosian Gallery's company logo, Gagosian is a contemporary art gallery owned and directed by Larry Gagosian.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. Only the word GAGOSIAN in large black capitals spans a rough horizontal white rectangle. White splatters cluster around the band; several long thin drips fall from its lower edge. A small white mark sits below the final letters. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as black ground, white rectangular stroke, black text, built through broad white brush platform with stencil-like GAGOSIAN lettering, drips and splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Gagosian Gallery's company logo, Gagosian is a contemporary art gallery owned and directed by Larry Gagosian.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. The word Gagosian in heavy white sans-serif letters stands on solid black. Long vertical white drips descend from several letters, especially the rounded forms. Fine white splatters pepper the area above and below the text. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as matte black field, opaque white lettering and drips, built through stencil-like white typography with gravity drips and fine splatter on black. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Gagosian gallery's company logo, Gagosian is a contemporary art gallery owned and directed by Larry Gagosian.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 94×94 cm. White Gagosian lettering of similar weight sits on a black ground with subtle brown-grey texture. An especially long drip falls from the first g nearly to the bottom; shorter drips and splatters surround the word. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as varied black-brown ground, white text, white drips, built through graphic white capitals on washed black ground; elongated drip from first letter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , This canvas with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Referencing to Gagosian gallery's company logo, Gagosian is a contemporary art gallery owned and directed by Larry Gagosian.

Michael Andrew Law paints a Monochrome Canvas Cantonese opera homage portrait for cultural heritage gallery, in acrylic and oil on canvas at 100×100 cm. Two figures in bright red coats with pale yellow-gold faces and simple black line features stand side by side. The right figure wears a large grey-white curly headdress. White and grey splatters and energetic white lines fill the dark brown-black ground around them. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as dark brown-black ground, saturated red garments, yellow-gold skin, grey-white splatter, built through flat color faces on expressive red impasto bodies; splatter and gestural white overlay. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painted artwork, oil and acrylic on canvas, Canvas on 1.9 cm thick Stretcher and Ready for hanging. Most of the “ Monochrome Bad Paintings Series “ are painted in monochrome with transparent painting techniques on top of a prepared toned canvas , in which there were minimum to no colour mixing ( Avoiding mixing of different colour paint ) in the entire painting process , with the least cover up or retouching in the painting process to avoid losing “transparency” of the painting , each work either could completed within couple hours or would be destroyed . Di Nü Hua is a fictional Chinese story about Princess Changping of the Ming Dynasty and her husband/lover, Zhou Shixian. The first known story was a Kunqu script written in the Qing Dynasty, while the second version was a Cantonese opera from the early 1900s later found in Japan and Shanghai.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A gaunt female figure leans forward with elongated arms reaching lower left; the face is hollow white with dark eyes and mouth. Chaotic white strokes halo the body above a horizontal white ledge bearing small doodled flowers and a smiley face. The ground is solid black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, grey-white figure, white gestural marks, built through transparent monochrome figure; thick white aura strokes, ledge graffiti and splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , Canvas on 1.7 cm thick Stretcher and Ready for hanging. Signed and dated . Referencing to artist's first commission painting, Sammi Ng.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A hooded dark figure with a faint face extends muscular white-highlighted arms toward lower left. The black ground is layered with white strokes, drips and splatter. Lower right holds a bright patch with flower doodles and the handwritten note 2012 Remake No. 2. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-black hood, white highlights and splatter, built through gestural monochrome shrouded figure; inscribed white patch with line drawings. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Commission are open again, contact us if you want to commission painting along this style. Unique Hand Painted with oil , acrylic on canvas , Canvas on 1.7 cm thick Stretcher and Ready for hanging. Signed and dated . Referencing to artist's first commission painting, Sammi Ng

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 110×100 cm. A frontal bust of Moses after Michelangelo fills the frame: curling hair and beard, furrowed brow and upward eyes. Grey-white modeling describes stone-like flesh against black. A misty white cloud softens the lower edge; a white signature sits at right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey to white sculptural highlights, built through frontal monochrome bust painting; chiaroscuro modeling and soft atmospheric base. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 110×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique hand painted artwork, sell without stretcher for shipping economically, choose frame option before checkout. This art only available for limited time. Inspired by Moses sculpture by the Italian High Renaissance artist Michelangelo, collection of the church of San Pietro in Vincoli in Rome. The original sculpture commissioned in year 1505 by Pope Julius II , it depicts the biblical figure Moses with horns on his head, based on a description in Jewish Torah or old testament chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time.

Michael Andrew Law paints a Monochrome Canvas multi-panel Pop portrait bundle for salon-style installation, in acrylic and oil on canvas at 70×250 cm. Five vertical panels in a row show Marilyn Monroe and Audrey Hepburn in classic poses: blue fur stole, pink frontal portrait, yellow Breakfast at Tiffany's with pearls and pastry, blue-grey profile in turtleneck, and hot-pink Marilyn with parted lips. Each panel uses its own monochrome or two-tone scheme. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as cobalt blue, dusty rose, yellow-black-grey, navy blue, hot pink panels with grey-white figures, built through five related soft-focus pop portraits; poured, marbled and lace-textured grounds per panel. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits open-plan lofts ready for a coordinated multi-panel hang. The 70×250 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. This sale is FIVE Panels ( 5 Canvases ) bundle art. Each panel is 70 CM height and 50 CM width, 1.2 cm thick. Consist cinema star portrait of Marilyn Monroe and Audrey Hepburn, all unique hand painted artwork. Canvas are stretched and ready for hang.

Michael Andrew Law paints a Monochrome Canvas art-world satire portrait with minimal colour accent for collector conversation piece, in acrylic and oil on canvas at 100×100 cm. A weathered older man's face stares intensely forward with deep eye shadows and textured grey hair. Broad white gestural strokes frame the head on black. A small bright red square seal with characters sits lower left; a dark signature crosses a white stroke at lower right. Michael Andrew Law satirizes blue-chip obsession through the same Bad Painting discipline: gallery mythology rendered with intentionally clumsy transparency. On the canvas, the colour reads as black ground, grey-white portrait, single red seal accent, built through detailed grey portrait within white impasto frame; red seal stamp and splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits collector apartments where art-world humor should read at dinner-party distance. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Portrait of the Boss of Gagosian Gallery - Larry Gagosian. Rare Red Stamp on lower left is the Seal of the artist. Canvas on 1.7 cm thick Stretcher and Ready for hanging.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A young girl in profile walks left wearing a light sleeveless top and ruffled shorts, modeled in grey-white. A large white splatter mass occupies the left half; arcing lines and vertical drips cross the black textured ground at right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black textured ground, grey-white figure, white splatter and drips, built through side-view transparent figure; heavy left splatter field and drip lines on black. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Kristina Pimenova Instagram posts controversy.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. The same child type appears in left profile with hair tied back, hands extended forward holding a small object. White arcing lines frame the figure while vertical drips and fine splatters cover the black ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, grey-white figure, white lines and splatter, built through profile monochrome figure with gestural white framing lines and drip texture. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Kristina Pimenova Instagram posts controversy.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. A young girl in profile strides left on a deep crimson ground, body rendered in white and grey. Broad white strokes and splatters sweep around her; long drips fall along the lower and left edges. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as crimson-red field, white-grey figure, white splatter, built through red-ground variant of profile child figure; impasto white gestures and drips. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Kristina Pimenova Instagram posts controversy.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. A mirror-selfie figure holds a phone before the face while white paint largely obliterates the head and upper torso. Bikini-bottom lines sketch the hips at center. A dense white calligraphic burst occupies the right side over saturated red. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as saturated red ground, white paint only, built through red field selfie silhouette; thick white obliteration, splatter and calligraphic strokes. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to a calligraphy version of " Love " by the most famous Chinese calligrapher of all time - Wang Xizhi, a hand scroll copy of Wang Xizhi's work fetched USD$46.40 million at the China Guardian autumn auction in Year 2010.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A dark female silhouette stands with legs modeled in grey-white and a huge white wing-like wrap flaring from the shoulders. Yellow splatters dot the black ground, especially right and lower left. Thin white-grey drips descend near the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white legs, white wrap, yellow splatter accents, built through silhouette with gestural white coat strokes; yellow flick splatter on black. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Female who dressed like Santa Claus .

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A seated nude female form faces right with one knee raised; ribs read as horizontal white strokes. A thick white band covers the eyes like a blindfold. White splatters and a curved halo stroke surround the head on black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white body, white blindfold stroke, built through monochrome seated nude; horizontal obliteration across eyes, splatter halo. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration. Unique Hand Painted with oil , acrylic on canvas , both canvases with full margins are 108 x 108 each for gallery wrapped canvas type stretchers. Signed and dated . Referencing to Julian Schnabel's Big girl painting, when you can't see her eyes, you can look at her chin.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A reclining figure seen from behind curls on the ground, back and bent leg picked out in white. Large soft calligraphic white shapes float at left. Fine splatters cluster near the head and along a thin horizontal line above the body. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-brown textured ground, grey-white figure, white calligraphic marks, built through back-view transparent figure; soft calligraphic strokes and splatter on dark ground. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A seated figure faces right with knees drawn up, body built from translucent white-grey washes. Bold calligraphic strokes stack at left. A thin white needle-like line projects from the face area; splatters dot the dark warm-black ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as warm black-brown ground, grey-white figure, white calligraphy, built through washed monochrome seated pose; calligraphic left field, fine line accent and splatter. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A seated figure with white highlights on head, torso and legs occupies center-left. Large fluid white characters resembling the love character ai fill the right half. A thin white diagonal cuts from lower left through the lap; splatters ring the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as dark brown-black ground, grey-white body, white calligraphy, built through seated figure in transparent white; bold right-side calligraphy, diagonal line and splatter. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A seated nude woman pulls one knee to her chest on a black ground; skin is warm tan and ochre. A violent horizontal burst of thick white paint erases the head and upper chest, with splatters and drips radiating outward. White gestural marks also fleck the base. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, ochre-tan flesh, white blast and splatter, built through modeled flesh-toned nude on black; thrown white impasto obscuring head and chest. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas near-monochrome portrait with watery acrylic colour field for modern gallery wall, in acrylic and oil on canvas at 94×94 cm. A young woman sits with knees drawn up, wearing a dark horizontally striped top, and looks straight out. Broad white strokes wrap around her while splatters and thin drips cover the black ground. She rests on a textured dark ledge at the bottom. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as black ground, grey-white face and limbs, white gestural marks, built through monochrome seated portrait with striped shirt; white aura strokes, splatter and drips. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A nude woman curls seated with arms around her knees, head bowed. A thick white horizontal band blinds the eyes. Grey-white modeling defines the body against black; yellow splatters ring the edges. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white nude, white blindfold, yellow splatter, built through huddled nude in transparent grey-white; horizontal eye obliteration and yellow splatter rim. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A fetal curled female figure floats in dark space, backlit along hair, spine and limbs. Large blurred white calligraphic strokes arc at right. Fine white dots resemble stars scattered through the void. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-brown ground, grey-white figure, white calligraphic arcs, built through floating transparent nude; backlight modeling with soft calligraphy and star splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A hunched seated figure in profile bends forward, one broad white stroke flaring like a wing across the back. Soft calligraphic forms sit right; splatters cluster at head and feet. A thin curved line arcs from upper left to the emphasized foot. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white body, white wing stroke and calligraphy, built through profile hunched pose; impasto wing highlight, calligraphic right field and splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A crouching figure in right profile kneels with knees up, lit in white-grey on black. Large calligraphic strokes resembling love characters dominate the left. Splatters scatter between figure and script on a textured dark ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as textured black-brown ground, grey-white figure, white calligraphy, built through crouched transparent figure; left calligraphic cluster and splatter atmosphere. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A hooded white face with suggested eyes and mouth emerges at upper left on black. A thick horizontal white bar crosses mid-height. Splatters and drips fill the field; dense scribbled white marks cluster lower right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, white gestural marks only, built through abstract expressionist white on black; hooded face motif, bar stroke and lower scribble mass. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. No clear figure appears: tangled white arcs, sprays and thick strokes knot across black. Vertical drips hang from a lower horizontal white band. Fine misty speckle fills the upper areas. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, opaque to grey-white marks, built through pure gestural abstraction; layered white strokes, spray mist and bottom drip band. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 94×94 cm. A distorted white face with open mouth sits upper left; an arm thrusts upward to the right. Horizontal white streaks blur the lower half. A dense splatter explosion occupies the lower right corner. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, white gestural paint, built through expressive figure fragment; streaking motion lines and heavy lower-right splatter burst. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 95×95 cm. A front-facing nude woman throws her head back with mouth wide open on black. A thick white stream runs from the mouth down the torso to a bright impasto pool between her spread legs; hands grip the inner thighs. White splatters and side drips surround the head and shoulders. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, grey-white body, white stream and splatter, built through high-contrast nude; poured white vertical from mouth to groin, splatter and drip field. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×95 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas cartoon sketch portrait on near-monochrome ground for design studio, in acrylic and oil on canvas at 87×87 cm. Hello Kitty stands centered in a floral-patterned kimono, bow and flower on her ear, holding an open wagasa whose ribs fan behind her head. Soft spotlight glow separates the figure from a dark vignetted ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as warm black vignette, sepia-grey to white figure, built through monochrome pop character sketch; soft chiaroscuro glow and stippled dark ground. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits design studios, animation offices, or playful collector bedrooms. The 87×87 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas cartoon sketch portrait on near-monochrome ground for design studio, in acrylic and oil on canvas at 87×87 cm. Pikachu faces forward with arms raised, wide smile and circular cheeks on a solid black ground. Smooth white-grey shading models the body; faint smoky halos edge the ears and tail. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, white to grey Pikachu, built through monochrome cartoon portrait; blended plush modeling with subtle edge glow on black. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits design studios, animation offices, or playful collector bedrooms. The 87×87 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas cartoon sketch portrait on near-monochrome ground for design studio, in acrylic and oil on canvas at 87×87 cm. Snoopy sits facing right with eyes closed, hugging Woodstock to his chest. Both characters glow in white-grey against a mottled charcoal background with soft halo light beneath them. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal-black ground, white to grey characters, built through monochrome Peanuts sketch; soft blended shading and luminous underlight on dark ground. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits design studios, animation offices, or playful collector bedrooms. The 87×87 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas cartoon sketch portrait on near-monochrome ground for design studio, in acrylic and oil on canvas at 87×87 cm. The red Angry Birds character fills the square canvas in graphic profile, with thick V-shaped brows, round eyes, pointed beak, head feathers, and a small tail. A soft white-to-grey halo and mist surround the bird against a solid black ground, with faint grey spots on the body. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, white-grey bird, soft luminous halo, built through bold cartoon outlines with airbrushed glow and stippled shading on black. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits design studios, animation offices, or playful collector bedrooms. The 87×87 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas cartoon sketch portrait on near-monochrome ground for design studio, in acrylic and oil on canvas at 87×87 cm. Smurfette stands in a circular spotlight on the floor, eyes closed and smiling, holding her dress hem with both hands. Her cap, wavy hair, and dress read as white and grey against a dark void with a hazy glow behind her silhouette. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black void, white-grey figure, circular floor spotlight, built through cartoon outlines with painterly chiaroscuro and stippled spotlight haze. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits design studios, animation offices, or playful collector bedrooms. The 87×87 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas cartoon sketch portrait on near-monochrome ground for design studio, in acrylic and oil on canvas at 87×87 cm. My Melody appears full-length in three-quarter view, hood and large bow on the left, one hand raised to her mouth. The rabbit figure glows in white and light grey with a soft aura on deep black textured ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, white-grey character, soft grey aura, built through pop-street soft outlines with airbrushed halo on dark canvas. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits design studios, animation offices, or playful collector bedrooms. The 87×87 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas Hong Kong nostalgia portrait with restrained colour ground for cultural institution wall, in acrylic and oil on canvas at 180×130 cm. Queen Elizabeth II appears in right-facing profile wearing the George IV State Diadem, encircled by arched serif lettering reading QUEEN ELIZABETH THE SECOND. The portrait fades into a dark textured base with vertical drips and splatter at the bottom. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-grey ground, white-grey profile and embossed lettering, built through coin-like relief portrait with distressed drips and atmospheric brushwork. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 180×130 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas Pop portrait with hand-painted Ben-Day halftone and limited palette for art-history salon, in acrylic and oil on canvas at 94×94 cm. A grey reclining figure looks at a handheld device while an orange circle, magenta vertical block, teal diagonal stripe, radiating purple-green-blue fans, orange graffiti scribble, halftone fields, and white splatters overlay the dark ground. A graffiti-style signature sits near the lower center. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey figure on black with magenta, orange, teal, green, yellow accents, built through figurative painting layered with Lichtenstein halftone, geometry, and street-art splatter. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 95×95 cm. A woman with voluminous dark hair and golden-yellow skin faces forward in a red top, large lashed eyes fixed on the viewer. Thick white circular brushstrokes and dense white splatters and drips ring her head on a deep brown-black ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as brown-black ground, gold face, red garment, white halo splatter, built through stylized portrait with gestural white halo and action-paint splatter. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×95 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 95×95 cm. A woman with a dark bob and bangs, golden-yellow skin, and a red strapped top looks straight ahead with heavy lashed eyes. A textured white circular stroke and scattered white splatters and drips surround her head on solid black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, gold face, red top, white splatter halo, built through pop portrait with thick white ring and flicked paint splatters. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 95×95 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas calligraphy overlay portrait with projector-guided lettering for bilingual collector foyer, in acrylic and oil on canvas at 100×100 cm. A man with dark hair and thin mustache wears a dark suit, white shirt, and tie, facing the viewer with a slight smile. His face is warm gold ochre while the background shows sweeping white-grey gestures, dry-brushed texture, and white splatters over black. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, gold ochre face, white shirt, grey-white gestural marks, built through formal bust portrait with expressive background strokes and splatter overlay. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits bilingual offices, cultural centers, or collector studies that welcome calligraphy scale. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas calligraphy overlay portrait with projector-guided lettering for bilingual collector foyer, in acrylic and oil on canvas at 100×100 cm. The same suited man with mustache and gold-toned face is centered against black, overlaid by a web of thin white drips and splatters crossing suit and background. The white collar reads in broader strokes beneath the linear drip network. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black field, gold face, white collar, fine white drip lines, built through portrait under layered drip-and-splatter action painting. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits bilingual offices, cultural centers, or collector studies that welcome calligraphy scale. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A smiling man in suit and white shirt shows teeth beneath short light hair. Teal vertical strokes sit at the left, grey drips at the right, and scattered white dots plus small yellow, orange, and blue flecks punctuate the black ground. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black-white portrait with teal stroke and yellow-orange-blue dots, built through high-contrast portrait with impasto highlights, drips, and splatter accents. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A balding man in a white collar turns slightly left with a gentle smile, face built from bold white-grey strokes on black. A teal vertical drip runs at the right, with orange-gold dots left and purple-red near the collar. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white-grey face, teal drip, orange and purple accents, built through chiaroscuro portrait with expressive brushwork and color splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A bearded man smiles with visible teeth, white beard and hair catching strong right-side highlights while the left falls into shadow. Teal vertical drips line the left edge; dense white and gold splatters fill the right; a red-black mark sits near the shoulder. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black-white beard portrait, teal left, gold-white splatter right, red accent, built through dramatic portrait with drip marks and flicked star-like splatters. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A smiling man wearing rectangular glasses and a collared shirt faces forward, his form carved from thick white gestural strokes on black. Orange and yellow dots cluster left; teal and light blue dots appear right with a teal wash on the shoulder. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, impasto white figure, orange-yellow and teal-blue splatters, built through bold white impasto portrait with decorative color splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. An elderly man with long white beard and hair turns right with a serene smile, torso suggested in sweeping white-grey paint. Golden-yellow dots scatter like embers; red-orange splashes cut the right side; vertical drips fall from the lower white mass. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white-grey sage, gold dots, red-orange splashes, built through gestural impasto figure with splatter dots and controlled drips. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A tall black silhouette suggesting head and shoulders occupies the center, framed by broad white strokes and scattered yellow, orange, blue, and purple flecks. Orange-red horizontal lines cross the upper silhouette; teal hatched texture and red drips appear lower left. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black void, white gestural frame, multicolor splatter accents, built through abstract silhouette with layered splatter, drips, and scraped color patches. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch appears bust-length with upswept wavy hair and a somber expression, wearing a dark jacket over a collared shirt. His face and hair read in metallic gold and mustard against black, with white highlights on brow and nose and a long white drip at the right. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as black ground, gold-mustard face and hair, white highlight drips, built through high-contrast gold portrait with impasto highlights and drip accent. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch faces forward with dramatic swept-back white hair, dark suit, and white shirt on a textured black-brown ground. Strong right-side lighting bleaches brow, nose, and shirt while the left stays in shadow; yellow-orange dots left, teal patch right, blue collar stroke, vertical white drips. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black-brown ground, white-grey hair and shirt, yellow-orange and teal accents, built through expressive chiaroscuro portrait with splatters, color patches, and paint drips. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch in suit and tie wears voluminous white upswept hair and a serious gaze. A golden-yellow diagonal streak crosses the upper right; white splatters speckle the black background; a long white drip runs down the left; teal and blue marks sit on the right shoulder. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black field, white hair and highlights, gold diagonal, teal-blue accents, built through textured portrait with splatter field, color slashes, and vertical drip. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 110×100 cm. The Venus de Milo appears from head to draped waist in three-quarter view, missing arms, hair in a bun, torso and fabric folds lit from the upper left. Deep shadow on the right contrasts bright marble highlights against a dark background with sweeping circular brushstrokes. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-grey ground, white-grey classical figure, strong chiaroscuro, built through monochrome statue study with directional light and expressive background strokes. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 110×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch looks out with upswept textured white-grey hair and intense eyes, white shirt emerging from deep shadow. Yellow, orange, and a red streak punctuate the left; teal and dark blue texture the right background; white splatters and vertical drips cross face and shirt. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white-grey portrait, yellow-orange-red left, teal right, built through impasto highlights with splatter, color flecks, and running drips. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 110×100 cm. Michelangelo's seated Moses turns sharply left with small horns, long flowing beard, furrowed brow, muscular bare arm, tablets under the right arm, and heavy drapery over the legs. Dramatic right-side light models anatomy and folds against a dark gestural ground that dissolves to misty white at the base. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as charcoal black shadows, mid grey transitions, bright white highlights, built through sculpture translation in chiaroscuro with energetic beard and background brushwork. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 110×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch in three-quarter view wears swept white-grey hair and a dark jacket, face half in bright highlight and half in shadow. Orange-yellow splatters and streaks fill the right; a bright blue rectangle sits lower left; a red splatter marks the lower right shoulder area. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black layered ground, white-grey face, orange-yellow right, blue and red accents, built through high-contrast portrait with stencil-like form, splatter, and color blocks. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch fills the frame with iconic upswept hair and a grave expression, rendered in stark white on a saturated red textured ground. Yellow, blue, purple, and white paint splatters ring the head and collar against the uniform red field. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as dominant red ground, white portrait, yellow-blue-purple splatter accents, built through high-contrast white-on-red portrait with gestural hair and splatter halo. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch faces forward with thick white upswept hair, lined face, white shirt, and dark jacket on black. Small white and yellow dots scatter upper left; a translucent teal diagonal sweeps the right; red-orange-purple strokes cross the lower left. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white-grey portrait, teal diagonal, warm accent strokes, built through expressive impasto portrait with translucent color bands and splatter dots. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch appears with voluminous white hair and weathered features, suit and white shirt half lit and half lost to shadow. Orange-yellow splatters cluster far left; vertical dark drips veil the left cheek; a blue patch sits on the right shoulder; thin red drip at left face. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black-grey ground, white hair and highlights, orange left, blue shoulder accent, built through dramatic portrait with vertical drip veils and scattered color splatter. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. David Lynch wears thick swept white-grey hair and a stern forward gaze, shirt and jacket suggested in bold strokes. Long vertical white and grey drips run across face and torso; white splatters dot the black field; teal texture right, orange-yellow dots left, purple-red near lower left. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white-grey portrait, teal right, orange-yellow left, purple-red flecks, built through layered portrait with all-over vertical drips and action-paint splatter. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. An elderly bearded man in profile faces right, formed from thick white paint on black with hands suggested before him. Gold-yellow dots and white splatters scatter through dark swirling brushwork; thin red vertical streaks mark the right edge. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white figure, gold speckles, red vertical accents, built through gestural side-profile impasto with splatter stars and red line marks. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A bearded elder in right profile is built from luminous yellow-gold paint that drips down the lower body and hands. Gold dots fleck the black background; red-orange splashes appear beside the head and lower right. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, yellow-gold figure, gold splatter, red-orange accents, built through gold drip painting with splatter constellation on textured dark ground. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A smiling bearded man in right profile wears loose draped robes in broad gold ochre strokes on textured black. Yellow splatters halo the figure; two small red splashes sit near shoulder and lap; yellow drips descend at the lower left. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black textured ground, gold ochre robes and beard, red splashes, built through warm gold profile with splatter aura and selective red accents. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A joyful bearded man in three-quarter right profile smiles with crinkled eyes, robe suggested in gold brushwork on black. Gold splatters and droplets scatter across the canvas; thin gold vertical lines and one small red curved stroke appear at the right. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as matte black, metallic gold figure, gold splatter, tiny red accent, built through expressive gold-on-black portrait with flicked splatter and drip lines. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. An elderly bearded man wearing glasses faces right with hands lifted in an explanatory gesture, rendered in gold on swirling black brushwork. White and pale yellow splatters dot the surface; thin red-orange vertical streaks run along the right margin. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as black swirled ground, gold ochre figure, white-yellow splatter, red-orange streaks, built through gestural gold portrait with glasses, raised hands, and splatter accents. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A bearded man in left-facing profile emerges in mustard gold from black, long beard sweeping forward. Heavy circular black brushstrokes ring the figure; a small bright red stroke sits in the dark space before the face; gold drips fall from the lower shoulder. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as black charcoal ground, mustard-gold profile, single red accent, built through profile impasto in gold with architectural background strokes and drip. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A white-bearded man in right profile wears light robes on a vertically textured black ground. Dense gold-yellow circular splatters cluster right of the head; a vertical trail of red splatters rises behind him; paint drips line the bottom edge. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white-grey robes and beard, gold splatter, red vertical trail, built through high-contrast white figure with stippled gold splatter and red accent column. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. An elderly man with long white beard and hair turns right in a luminous white robe, hands resting in his lap. Gold speckles float across the black textured ground; a faint vertical red streak with small red dabs appears at the right. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white robe and beard, gold speckles, faint red right edge, built through meditative white-on-black portrait with gold splatter and minimal red marks. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas meditation portrait with gold or neutral ground for wellness studio corridor, in acrylic and oil on canvas at 94×94 cm. A white-bearded elder in three-quarter view raises both hands in a teaching gesture, robes painted in heavy white impasto. Gold dots scatter through black; several bold red vertical strokes slash the right side of the composition. Michael Andrew Law pairs celebrity and spiritual-brand portraiture with Bad Painting transparency, letting gold or neutral grounds suggest meditation marketing without slick illustration. On the canvas, the colour reads as black ground, white figure, gold dots, red vertical gestural marks, built through expressive white impasto with gold splatter and red palette-knife strokes. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas Bruce Lee serial study with red-white-blue accent panels for martial-arts archive, in acrylic and oil on canvas at 94×94 cm. Bruce Lee faces the viewer in a fighting stance with hands near his chest, bowl-cut hair and focused expression rendered in white and grey on black. Red slashes cross the lower torso and hands; white spray mist and splatters radiate around the figure. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as black ground, white-grey figure, red slash accents, white mist, built through high-contrast martial portrait with spray-paint halo and red gestural cuts. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas Bruce Lee serial study with red-white-blue accent panels for martial-arts archive, in acrylic and oil on canvas at 94×94 cm. Bruce Lee stands waist-up in a guard pose on a deep cobalt blue ground, right hand near the face and left at the hip, body built from bold white strokes. White splatters and sweeping calligraphic arcs fill the right side; small red marks hit shoulder and chest. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as cobalt blue field, white figure, small red accents, built through blue-ground action portrait with splatter, drips, and calligraphic white arcs. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas Bruce Lee serial study with red-white-blue accent panels for martial-arts archive, in acrylic and oil on canvas at 94×94 cm. A muscular shirtless Bruce Lee stands with right fist across the chest and left hand on his hip, anatomy defined by thick white highlights on burgundy. White splatters burst from the shoulders; faint vertical white and red streaks rise in the background. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues crimson red beside the near-monochrome figure. On the canvas, the colour reads as burgundy-maroon ground, white muscular figure, red vertical flecks, built through chiaroscuro body portrait with impasto highlights and splatter energy. Michael Andrew Law worked wet-into-wet on the figure while the coloured ground was still moving, so the monochrome head would float on a watery field without looking airbrushed. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas currency portrait study with brown-gold ground for finance collector office, in acrylic and oil on canvas at 94×94 cm. Mao Zedong appears bust-length in golden-yellow face and dark high-collared suit on chocolate-brown ground. A dry-brushed white halo rings the head; white splatters and arcing lines cross the shoulders; thin white strokes trace collar and button. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. The catalogue title cues metallic gold beside the near-monochrome figure. On the canvas, the colour reads as chocolate brown ground and jacket, golden yellow face, white splatter arcs, built through banknote-style portrait with expressive splatter and sweeping white lines. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas currency portrait study with brown-gold ground for finance collector office, in acrylic and oil on canvas at 200×200 cm. A large Mao portrait in grey and white occupies the center wearing a dark Mao suit, with Chinese characters 人民银行 at the upper left and faint circular banknote motifs beside them. Orange splatters pepper the surface; long grey and white drips run downward; thin teal drips appear at the right. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-white portrait on dark ground, orange splatter, teal drip accents, built through RMB-inspired portrait with stencil-like face, text, splatter, and vertical drips. Michael Andrew Law used a projector only to lock letter spacing or jaw lines, then painted over it with deliberate clumsiness so the image would feel found, not illustrated. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 158×158 cm. A soft grey-white female portrait with short dark hair emerges through hazy mist, one eye and ear partly visible. A magenta arrow labeled LIMITED and an orange OFFER box overlay the lower left, with small geometric line shapes nearby on a scratched pale ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as grey-white haze, charcoal hair, magenta and orange graphic overlay, built through soft-focus monochrome portrait with hard-edged pop-commerce sticker collage. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 158×158 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas currency portrait study with brown-gold ground for finance collector office, in acrylic and oil on canvas at 94×94 cm. A massive white yen-yuan symbol dominates the black square, painted in thick gestural strokes with visible texture. Dense white splatters and varied drips cover the ground; fainter circular halos and smaller currency-like marks sit behind and around the central sign. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black ground, white symbol, splatter, grey translucent layers, built through neo-expressionist currency glyph with splatter, drip, and layered impasto. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 94×94 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 200×200 cm. Carrie Lam smiles toward the viewer wearing red-framed glasses, short brown hair, a light patterned jacket, and a dark beaded necklace. Brown-orange calligraphy 香港 sits at the left; the background shows vertical drips, white-orange splatters, and a bright glow behind her head. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as ochre-brown ground, cream jacket, red glasses, white-orange splatter, built through warm expressive portrait with calligraphy, drip background, and splatter stars. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 200×200 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 70×50 cm. Wonder Woman stands mid-thigh up with flowing black hair, gold tiara with red star, silver gauntlets, and red-blue-gold costume, coiling a glowing yellow lasso around her body. A textured blue ground holds three white stars; orange-yellow burst shapes explode along the bottom; a red SALE circle with Santa hat sits lower left. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as blue textured ground, gold skin and lasso, red-blue costume, orange bursts, built through comic bold outlines with spray-textured blue field, stenciled stars, and sticker overlay. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 70×50 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Canvas art-history homage with transparent figure painting for museum-adjacent library, in acrylic and oil on canvas at 100×110 cm. Michelangelo's David head fills the right side in low angle, curly hair and furrowed brow lit from the upper right while the left falls into deep shadow. A bright shoulder form appears lower left; a saturated magenta-red wash bleeds along the entire right edge over face and hair. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-grey sculpture tones, white highlights, magenta-red right border wash, built through chiaroscuro marble study with expressive brushwork and translucent red glaze. In the studio, Michael Andrew Law laid the black ground first, then pulled white paint in single transparent passes so the portrait would stay awkward and immediate—often finished in hours or scraped off entirely. Michael Andrew Law thinks the work suits libraries, university halls, or homes that pair old masters with contemporary irony. The 100×110 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 50×70 cm. Darth Vader's helmet faces forward in glossy black with sharp white highlights. A horizontal neon pink-magenta beam crosses behind the mask through a grey, white, and purple splattered drip background. A red SALE disc topped with a Santa hat sits in the lower left corner. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as black-white helmet, neon pink beam, grey-purple splatter, red sale graphic, built through graphic mask portrait with airbrushed neon bar and action-paint ground. Michael Andrew Law stopped before the face became slick; one more glaze would have killed the transparency the series is built on. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 50×70 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 100×100 cm. A reclining figure with long hair stretches diagonally across a deep red ground, legs toward the left, one arm bent toward the chest. The body is built from bold white and grey gestural strokes with scattered splatters, drips, and wavy white lines along the lower edge. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as burgundy-red ground, white-grey figure, silver shadow tones, built through abstract figurative recline with impasto white, splatter, and drip marks. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 100×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.

Michael Andrew Law paints a Monochrome Bad Painting transparent oil portrait on black canvas for contemporary collector study, in acrylic and oil on canvas at 110×100 cm. The Statue of Liberty rises waist-up holding a raised torch and tablet, drawn in black line over glowing cyan/teal fill. Purple light halos the torch and left torso; deep blue glow rings the crown against a dark brown-black textured painterly ground. Michael Andrew Law extends the Bad Painting line—years of monochrome photo-paintings inspired by Yan Pei-Ming’s large-scale pop realism—where subjects from contemporary culture are painted fast, transparently, and without corrective polish. On the canvas, the colour reads as dark brown-black ground, cyan statue, purple and blue glows, red signature fleck, built through etched line drawing with airbrushed neon color washes on textured dark ground. Michael Andrew Law avoided mixing colours on the palette, letting the toned canvas and one white passage carry the likeness, as the early Bad Painting works demanded. Michael Andrew Law thinks the work suits contemporary living rooms, agency corridors, and private studies that want culture without full colour. The 110×100 cm scale supports ready-to-hang stretched canvas presentation where hand-built transparency and limited colour must be viewed in person—especially metallic copper, gold, or glitter passages photographs rarely capture. Published in *Bad Paintings and Abstract Realism* (Michael Andrew Law retrospective catalogue), the Monochrome Canvas line rewards slow looking at awkward facture rather than slick illustration.