Original: $3,500.00
-65%$3,500.00
$1,225.00The Story
Size:21 x 16 in.
Library Study LXIX is a 17" x 12" original mixed media work by The Connor Brothers, presenting a tight cluster of vintage book spines rendered in the familiar teal tones of mid-century Penguin paperbacks. Each title, however, replaces literary reverence with raw irreverence, merging the visual language of British publishing heritage with the blunt, unfiltered honesty of contemporary cynicism. Titles such as “Not Drunk, Just Tipsy”, “It Is What It Is” and “Pride and Prejudice – The Idiot” transform the shelf into a catalogue of frustration, apathy and dark humour. One book leans away from the others, as though unwilling to comply, injecting personality into the stillness.
Handwritten notes float loosely in the white space to the left – “Study #4”, “oil on canvas?” and a scribbled line about “f**k all” – reinforcing the work’s tension between the polished and the provisional. It feels like a private studio moment made public, a reminder that even carefully crafted illusion begins with uncertainty.
The Connor Brothers have long played with the unstable boundary between fiction and truth, having themselves first appeared as invented artists. In this piece, the library becomes a portrait of the human condition: disillusioned, self-aware, and still laughing in spite of itself.
Details & Craftsmanship
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Description
Size:21 x 16 in.
Library Study LXIX is a 17" x 12" original mixed media work by The Connor Brothers, presenting a tight cluster of vintage book spines rendered in the familiar teal tones of mid-century Penguin paperbacks. Each title, however, replaces literary reverence with raw irreverence, merging the visual language of British publishing heritage with the blunt, unfiltered honesty of contemporary cynicism. Titles such as “Not Drunk, Just Tipsy”, “It Is What It Is” and “Pride and Prejudice – The Idiot” transform the shelf into a catalogue of frustration, apathy and dark humour. One book leans away from the others, as though unwilling to comply, injecting personality into the stillness.
Handwritten notes float loosely in the white space to the left – “Study #4”, “oil on canvas?” and a scribbled line about “f**k all” – reinforcing the work’s tension between the polished and the provisional. It feels like a private studio moment made public, a reminder that even carefully crafted illusion begins with uncertainty.
The Connor Brothers have long played with the unstable boundary between fiction and truth, having themselves first appeared as invented artists. In this piece, the library becomes a portrait of the human condition: disillusioned, self-aware, and still laughing in spite of itself.
