Parley for the Oceans is an environmental organization and global network that aims to drive change in the context of the protection of the oceans. In collaboration with the extended reality art platform Vortic, they bring together leading contemporary galleries to help raise funds for Parley’s Global Cleanup Network, an alliance of organizations taking direct action against marine plastic pollution.

A percentage of all sales will be donated to the Parley Foundation.

 

Andreas Gursky
Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011
Inkjet Print, Diasec
Size of image: 286 × 206 cm
Size of image: 112 5/8 × 81 inches
307 × 227 × 6.2 cm (framed)
120 7/8 × 89 3/8 × 2 3/8 inches (framed)

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Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011
Inkjet Print, Diasec
Size of image: 286 × 206 cm
Size of image: 112 5/8 × 81 inches
307 × 227 × 6.2 cm (framed)
120 7/8 × 89 3/8 × 2 3/8 inches (framed)

Andreas Gursky
Bangkok VII, 2011
Inkjet Print, Diasec
Size of image: 286 × 206 cm
Size of image: 112 5/8 × 81 inches
307 × 227 × 6.2 cm (framed)
120 7/8 × 89 3/8 × 2 3/8 inches (framed)

Parley Collective x Vortic
Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011 (detail)

Andreas Gursky
Bangkok VII, 2011 (detail)

Parley Collective x Vortic
Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011 (detail)

Andreas Gursky
Bangkok VII, 2011 (detail)

Parley Collective x Vortic
Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011 (installation view)

Andreas Gursky
Bangkok VII, 2011 (installation view)

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Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011 (detail)

Andreas Gursky is considered one of the foremost photographers in the world, an artist who has expanded the boundaries of the photographic medium like few before. His complex, large-format color images show spectacular landscapes and elaborate interiors, combining technical virtuosity with a painterly eye. His works most often cast their relentless gaze toward the age of globalization, dissecting the effects of modernity on both nature and humankind. Bangkok VII (2011) presents an intimate view of the Chao Phraya, one of Thailand’s main rivers; it flows through Bangkok and out to sea, making it a major hub for transportation and other water-based economies. What begins as a quasi-abstract aquatic image gains clarity on closer inspection: through the reflections on the water’s surface, floating debris can be seen intermingling with the waves. These man-made artifacts expose the river as yet another victim of human mass consumption, with evidence of pollution almost, but not quite, escaping documentation under Gursky’s watchful eye.

Details
Parley Collective x Vortic

Andreas Gursky
Bangkok VII, 2011 (detail)

Andreas Gursky is considered one of the foremost photographers in the world, an artist who has expanded the boundaries of the photographic medium like few before. His complex, large-format color images show spectacular landscapes and elaborate interiors, combining technical virtuosity with a painterly eye. His works most often cast their relentless gaze toward the age of globalization, dissecting the effects of modernity on both nature and humankind. Bangkok VII (2011) presents an intimate view of the Chao Phraya, one of Thailand’s main rivers; it flows through Bangkok and out to sea, making it a major hub for transportation and other water-based economies. What begins as a quasi-abstract aquatic image gains clarity on closer inspection: through the reflections on the water’s surface, floating debris can be seen intermingling with the waves. These man-made artifacts expose the river as yet another victim of human mass consumption, with evidence of pollution almost, but not quite, escaping documentation under Gursky’s watchful eye.

 

Gary Hume
Parley Collective x Vortic

Gary Hume
Water, 2018
Gloss paint on paper
120 × 361 × 0.3 cm
47 1/4 × 142 1/8 × 1/8 inches
121.5 × 363 × 4.5 cm (framed)
47 7/8 × 143 × 1 3/4 inches (framed)

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Parley Collective x Vortic

Gary Hume
Water, 2018
Gloss paint on paper
120 × 361 × 0.3 cm
47 1/4 × 142 1/8 × 1/8 inches
121.5 × 363 × 4.5 cm (framed)
47 7/8 × 143 × 1 3/4 inches (framed)

Gary Hume
Water, 2018
Gloss paint on paper
120 × 361 × 0.3 cm
47 1/4 × 142 1/8 × 1/8 inches
121.5 × 363 × 4.5 cm (framed)
47 7/8 × 143 × 1 3/4 inches (framed)

Parley Collective x Vortic
Parley Collective x Vortic

Gary Hume
Water, 2018 (installation view)

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While he initially gained prominence in the 1980s as a pillar of the "Young British Artists” that came out of London’s Goldsmiths College, Gary Hume has since created a celebrated visual language all his own. Bold, simplified forms teeter between figuration and abstraction, delineated by sinuous graphic outlines. Working primarily with household gloss paint on aluminum, Hume often imparts a signature flatness to his works them, which is enhanced by the natural texture and sheen of the colors he selects. With Water (2018), Hume creates an azure world that expands in all directions, replete with the texture of lazily rippling waves—almost as though you are looking into the endless depths of the ocean yourself. While offering the ocean as the site for peaceful reverie, Hume also presents it as a site of infinite abyss, perhaps making subtle reference to the experience of thousands of migrants who attempt ocean crossings each year.

Parley Collective x Vortic

Gary Hume
Water, 2018 (detail)

Details
Parley Collective x Vortic

Gary Hume
Water, 2018 (detail)

While he initially gained prominence in the 1980s as a pillar of the "Young British Artists” that came out of London’s Goldsmiths College, Gary Hume has since created a celebrated visual language all his own. Bold, simplified forms teeter between figuration and abstraction, delineated by sinuous graphic outlines. Working primarily with household gloss paint on aluminum, Hume often imparts a signature flatness to his works them, which is enhanced by the natural texture and sheen of the colors he selects. With Water (2018), Hume creates an azure world that expands in all directions, replete with the texture of lazily rippling waves—almost as though you are looking into the endless depths of the ocean yourself. While offering the ocean as the site for peaceful reverie, Hume also presents it as a site of infinite abyss, perhaps making subtle reference to the experience of thousands of migrants who attempt ocean crossings each year.

 

Andreas Schulze
Parley Collective x Vortic

Andreas Schulze
Untitled (Sea Vista 6), 2015
Acrylic on nettle cloth
140 × 160 cm
55 1/8 × 63 inches

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Parley Collective x Vortic

Andreas Schulze
Untitled (Sea Vista 6), 2015
Acrylic on nettle cloth
140 × 160 cm
55 1/8 × 63 inches

Andreas Schulze
Untitled (Sea Vista 6), 2015
Acrylic on nettle cloth
140 × 160 cm
55 1/8 × 63 inches

Parley Collective x Vortic
Parley Collective x Vortic

Andreas Schulze
Untitled (Sea Vista 6), 2015 (detail)

Parley Collective x Vortic
Parley Collective x Vortic

Andreas Schulze
Untitled (Sea Vista 6), 2015 (installation view)

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Parley Collective x Vortic

Andreas Schulze
Untitled (Sea Vista 6), 2015 (detail)

Bursting onto a flourishing art scene in 1980s Cologne, Andreas Schulze has been at the forefront of contemporary painting ever since, using a pictorial language all his own to both celebrate and critique our collective social and cultural habits. He has often taken up the theme of bourgeois life, drawing freely from Surrealism, Dadaism and Abstract Expressionism to create works whose comfortable yet menacing interior worlds are just parallel to reality. This strategy is at play in Untitled (Sea Vista 6) (2015), which presents a landscape seen through a rocky outcrop or wooden structure made of truncated rectangular shapes in varying shades of brown. As we peer through and beyond into the heart of the scene, bands of black-ringed ocean waves ripple against calm beach grass with clouds moving above. As in many of his paintings, Schulze creates a compelling dynamic between interior and exterior: He paints an attractive scene that beckons the viewer, only to close it off via compositional and painterly tactics that leave the viewer itching to see more.

Details
Parley Collective x Vortic

Andreas Schulze
Untitled (Sea Vista 6), 2015 (detail)

Bursting onto a flourishing art scene in 1980s Cologne, Andreas Schulze has been at the forefront of contemporary painting ever since, using a pictorial language all his own to both celebrate and critique our collective social and cultural habits. He has often taken up the theme of bourgeois life, drawing freely from Surrealism, Dadaism and Abstract Expressionism to create works whose comfortable yet menacing interior worlds are just parallel to reality. This strategy is at play in Untitled (Sea Vista 6) (2015), which presents a landscape seen through a rocky outcrop or wooden structure made of truncated rectangular shapes in varying shades of brown. As we peer through and beyond into the heart of the scene, bands of black-ringed ocean waves ripple against calm beach grass with clouds moving above. As in many of his paintings, Schulze creates a compelling dynamic between interior and exterior: He paints an attractive scene that beckons the viewer, only to close it off via compositional and painterly tactics that leave the viewer itching to see more.