GUYHEPNER

Julian Opie Men sprinters 2 For Sale

Julian Opie
Julian Opie - Men sprinters 2, 2024, Acrylic lenticular mounted onto white acrylic

Men sprinters 2, 2024

Acrylic lenticular mounted onto white acrylic

77.3 x 120 x 3.4 cm

About this work

Julian Opie has established himself as one of the most distinctive figures in contemporary British art, known for his reductive visual language that distills the human form into bold outlines and flat planes of color. His work occupies a singular position between fine art, graphic design, and public imagery, drawing equally from classical portraiture, Japanese woodblock prints, and the universal language of signage. Represented in major institutional collections worldwide, including the Tate, MoMA, and the National Portrait Gallery, Opie's market presence reflects sustained international demand among serious collectors. Men sprinters 2 (2024) continues Opie's ongoing exploration of figures in motion, a subject that has preoccupied the artist across multiple bodies of work. The piece employs acrylic lenticular technology mounted onto white acrylic, creating an optical animation effect as the viewer's perspective shifts. This technique allows Opie to capture the kinetic energy of athletic movement within a static object, transforming the sprinters into something between documentation and abstraction. The runners become universal figures—simultaneously anonymous and instantly recognizable—their movement frozen and continuous at once. At 77.3 x 120 cm, the work commands presence while remaining suited to both residential and institutional settings. Issued in an edition of 30 with 5 Artist Proofs, this piece represents an accessible entry point into Opie's practice while maintaining the collectibility that limited editions afford. The lenticular works have proven particularly sought after, merging Opie's signature aesthetic with technological innovation that rewards extended viewing. For acquisition inquiries regarding Men sprinters 2, please contact Guy Hepner directly.

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