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Davis Langlois

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Face of God, 2008 Oil on Canvas © Robert Davis/Michael Langlois
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The Resurrection, 2009 Oil on Canvas 40" X 50" © Robert Davis/Michael Langlois
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Babylon, 2008 Oil on Canvas 84" X 120" © Robert Davis/Michael Langlois
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Into the Void, 2009 Oil on Canvas 94" X 108" © Robert Davis/Michael Langlois
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Dads, 2008 Oil on Canvas 34" X 60" © Robert Davis/Michael Langlois
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Iman, 2009 Oil on Canvas 66" X 72" © Robert Davis/Michael Langlois
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How Can You Buy or Sell The Sky, 2009 Water Color and Gold Leaf on Wall Dimensions Variable, Shown at MCA © Robert Davis/Michael Langlois
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H.R., 2009 Graphite on Paper © Robert Davis/Michael Langlois
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Water, 2002 Oil on Canvas 72" X 72" © Robert Davis/Michael Langlois
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La Petit Morte, 2009 Bronze, Painted Floor Dimensions Variable, Shown Installed in Warhol Skull Room, Andy Warhol Museum © Robert Davis/Michael Langlois
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Support/Pot, 2003 Oil on Canvas 35" X 41" © Robert Davis/Michael Langlois
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Angel fuck (boy), 2006 Oil on Canvas 30" X 36" © Robert Davis/Michael Langlois
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Mars, 2006 Oil on Canvas 96" X 36" © Robert Davis/Michael Langlois
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© Courtesy of DePaul Art Museum
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Quick Facts
Lives in
Chicago
Works in
Chicago
Representing galleries
Tags
realism, installation, traditional, abstract, figurative
Statement

We began working together in 1997 after meeting at The School of the Art Institute of Chicago.  For us, representational painting always includes a deferred relationship to the painting's event.  In this sense we see our paintings as historical and symmetrical to our own relationship to the past-defined by an ever-renewing dynamic between memory, its representation, and the synchronicity brought about in the object itself.  Our vocabulary is derived from popular and sub cultures and while we use the oldest trick in the book (mimesis), we are committed to making classical techniques viable options in contemporary art.  Our morally ambiguous images of historical icons, sublime nature, and racial stereotypes are from a world where viewing is active participation.  Culled images from every source are manipulated: the colors exaggerated and details added and subtracted.  We enjoy taking a mundane image and transforming it into something significant and visually arresting.  Each body of work is conceived of as a full installation, every object lyrically and poetically related to the others. The collaborative process raises issues of authorship and originality.  It allows for a dialogue rather than a soliloquy; it challenges the time-honored image of an individual artist working with brief moments of divine inspiration, and alters the ego's role in the creative process.  We trust in the surface of the painting and its ability to mediate the space between what's present and all the meanings brought to bear upon it.

Exhibited at these venues