D*Face, ‘Her Royal Hideousness – The Queen (Tongues & Ears Series)’, 2011, Addicted Art Gallery

Unframed, professionally packed and stored flat in our humidity controlled art storage facility, condition report available upon request

Signature: Hand signed and numbered

Arty-Fact: DFace has always had a sense of meaning and something to say, especially on the topic of the personal becoming public and speaking for an entire community. This can be seen in his characteristic make-believe canine, DDog, that flies away, free and unstoppable.

The D*Dog is a kind of balloon with wings that flap in the wind, a lolling tongue and large bared teeth, an anthropomorphic creature that rejects the status of daily routine and regimented rules, a typical adolescent trait.

In the words of the artist, “I’d rather fly like my dog. I don’t recognise the concept of authority, that’s why in Great Britain I don’t like the Queen and what she represents.”

The DDog and its mutation into Queen Elizabeth (with wing ears and canine tongue) is an eloquent example of DFace’s poetics. They are two sides of the same existential condition: grassroots creatively that comes from below and takes flight, and the public icon which from on high – and often through various media channels – imposes codes of conduct, points of view and dictates styles and fashions. And for this reason it must be criticised, contested, weakened and reduced to a simple, fictional, child-like doodle.

Source: “D*Face: Wasted Youth,” published by Centro de Arte Contemporaneo de Malaga, 2015

About D*Face

Drawing inspiration from New York’s pioneering graffiti scene of the 1970s and ’80s, British street artist D*Face has painted walls all over the world with his incisive, Pop-inflected murals that critique the modern world, in particular consumerism and the American Dream. In past works he has appropriated familiar cartoon figures such as Mickey Mouse and Hello Kitty—dissecting them with images like skulls or economic signifiers—and created portraits of icons like Jimi Hendrix and Kurt Cobain. “Thematically my work always draws upon personal experiences, whether that’s the saturation of media in our lives, our fascination with celebrity and stardom or more singular experiences such as the loss of loved ones,” D*Face says. Although he has increasingly shown at galleries, he approaches these sites with the same anarchic energy as his in situ works in public spaces.

British