Read it in The News Cherry by Ultravelvet

Tokyo – from the City LIfe series by Ultravelvet Collection.

This collection takes a spin at some of the most cosmopolitan cities on the planet. The prints depict the chaos and spontaneity of city life through abstract shapes and colors.







20×30, 40×60


Screen print on plexis glass


In Stock


Read it in The News Cherry by Ultravelvet  Collection touches upon society’s obsession with name brands.

Retail boutiques have become the cathedrals of the twenty first century, sprawling with faithful gracing the glowing halls with anticipation and in search of the salvation and satisfaction that another brand new luxury item or article of clothing may bring. No matter how many times a consumer will always come back for more, the appetite for material wealth growing more and more with every purchase. Fashion and luxury are synonymous with success and happiness and it is this fascination with the material that drew Brand Dominated Universe into being.

Los Angeles based artist Meredith Rose is the creator of the extraordinary Ultravelvet collection. Work is produced on 120mm film using a pinhole style camera from the 1960’s.The haunting complexity of these images, beautifully defaces society’s obsessions with a signature use of vivid color and pop art imagery detailed by hand.

The vivid neon glaze of color can be seen splattered across various logos. The pop culture reference to material culture further enhances the branding of the image as this aesthetic preference reinforces the nature of commercialization.

The Ultravelvet Collection, create layered images that evoke the textures of urban surfaces. Incorporating graphics from pop culture augmented by photographs or hand-rendered marks, their horizontal, billboard-like works reference the ongoing stream of advertising and media imagery that passes before the public. The “I Love New York” (2011) series features enlarged reproductions of U.S. currency laid over cityscapes: in one image from the series a wall of graffiti forms the backdrop to Benjamin Franklin’s face on a one hundred dollar bill; in another the Brooklyn Bridge is stamped across George Washington’s visage. The series “Sex Invaders” (2013) merges 1980s video game graphics with provocative portraits of females. A bikini-clad woman flexes her legs in a photograph as Donkey Kong pushes his wheelbarrow up a terraced structure that crisscrosses her body. Such pointed juxtapositions insert distance between the consumer and the images they consume.

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