Contemporary art constantly influences a designer's work, giving inspiration and a different thematic approach. Today we want to talk about a great artist that has inspired lots of "Huge" experimental activities.

DAVID SPRIGGS is an English artist whose operas work in the 2d and 3d dimensions. In his works, Spriggs explores phenomenal like space-time and movement. Vision systems, power symbols, and perception shapes are many other themes he used to operate. His projects use a complicated technique whom he's been a pioneer since 1999 in which he overlaps different transparent images. David Spriggs is currently based in Vancouver, BC. He was born in 1978 in Manchester, England, and immigrated to Canada in 1992. His work can be found in many prestigious collections such as Hyatt Centric Hong Kong, Queens Marque Halifax, the Montreal Museum of Fine Arts, and the National Museum of Fine Arts of Quebec.





Materials: Painted layered transparencies, metal framework

Exhibited: Sharjah Art Museum, United Arab Emirates

Axis of Power was exhibited at the Sharjah Biennial 9.  ‘Axis of Power’ renders visible the immaterial nature of power. Dwarfing the viewer on a scale as large as a cinema screen ‘Axis of Power’ forces us to navigate itself in order to explore the interplay between two and three-dimensions, and in doing so, situating us within its power-relationship. This white monochrome is neither an image nor an object but rather something in-between. Like a scientific specimen; the power of nature appears to have been captured, isolated and objectified within the confines of the architecture.


VISION - 2010


Materials: Painted layered transparent sheets

Exhibited: Chroniques Biennale, Marseille, France Sharjah Art Museum, Sharjah, UAE Grand Rapids Art Museum, Michigan, USA KWAG, Ontrario, Canada Espace Virtuel, Sagunay, Quebec, Canada Arsenal, Montreal, Quebec, Canada.

David Spriggs’ Vision artwork series have a distinct focus on the senses. Accentuated by an affinity between its subject matter and the fragmentary nature of the medium, there is a tension created between form and emptiness. Appearing both as an implosion and as an explosion depending on the one’s perception, the viewer has the sense that he/she is observing a form in becoming, yet at the same time breaking down. The immersive experience created by Vision provides the audience with the impression that they are in the midst of witnessing an event, something of monumental proportions akin to the Big Bang. In changing viewpoints by navigating around the work, Vision is continually altered, breaking down at the sides so that the viewer can only see the edge planes of multiple sheets, begging the question: Is there in fact a form, or just individual images?


VISION II - 2017


Materials: Painted layered transparent sheets

Location: Messums Wiltshire, England, U.K.

GOLD - 2017


Materials: Painted layered transparencies sheets, metal-framework and light-box

Exhibited: Woodstreet Art Galleries, Pittsburgh and Arsenal Montreal.

Gold is part of David Spriggs’ chromatic artwork series of Stratachromes on the contemporary symbolic meanings of color. Spriggs’ monumental installation presents eleven inverted yellow-golden human figures painted on layers of transparent sheets that are hung within an inverted pyramid structure. Initially reminiscent of the pediment of the New York Stock Exchange, Gold, in the spirit of pittura infamante (defaming portrait) turns the glory of capitalism on its apex, revealing its current precarious state. It speaks to the widening inequity within the Global Wealth Pyramid and the concentration of excessive wealth and corresponding power into the hands of a select few. The artwork was first unveiled on the inauguration day of the US President in 2017 in the central business district in downtown Pittsburgh, also known as the Golden Triangle. This historic location dates back to the gilded age. It is to that age the nation’s current political leadership seeks to return, in their quest to remake the current America into some idolized great state. But is that even possible or is such a return an illusion? And if not an illusion, will the result be to repeat that period’s excesses and failures? The viewer may be unsettled by the mirage-like-forms and suggestively paganic imagery. Is this intensely-saturated golden color representative of fools or of wealth? Yet we note that the figures of the artwork are not engaged in various forms of industry, in service to a central Goddess of Commerce, but rather are subservient, aloof or apart. Such is the relationship of many with today’s economy


Photo Copyright an bio:

David Spriggs -