Exu - Jean-Michel Basquiat
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Beskrivning
A powerful 1988 work by Jean-Michel Basquiat, featuring a central horned figure and symbolic motifs rooted in Afro-Brazilian spiritual traditions.
Exu, created in 1988, is a characteristic example of Jean-Michel Basquiat's late work. The composition features a central, horned figure, rendered with the artist's signature raw, gestural line quality. Basquiat employs a frenetic application of paint, combining bold black outlines with aggressive splashes of yellow and red. The figure is surrounded by a multitude of eyes, a recurring motif in his oeuvre that suggests surveillance, spiritual presence, or internal anxiety.
The title refers to Exu, a deity in the Yoruba religion and Afro-Brazilian traditions such as Candomblé. Exu acts as a messenger between the human and divine realms, often associated with crossroads and communication. Basquiat's interest in his own heritage and the syncretic belief systems of the African diaspora is evident here. The inclusion of text, specifically the word 'EXU' enclosed in a box and the fragmented phrase 'TOBACCO', reflects his background in graffiti and his practice of incorporating linguistic elements into his visual compositions.
The work is executed on a light, neutral ground, which allows the darker, more chaotic elements to emerge with force. The composition is deliberately unbalanced, mirroring the energy of the urban environment from which Basquiat emerged. The presence of cigarette-like forms scattered across the lower portion of the canvas adds a mundane, gritty detail to the otherwise mythic and spiritual subject matter. This piece demonstrates his ability to synthesise personal history, cultural mythology, and the visual language of the street into a singular, cohesive image. The work remains a direct representation of his rapid, intuitive process, where the physical act of painting is as significant as the final subject.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Exu - Jean-Michel Basquiat
Artist Biography
Jean Michel Basquiat
He had no formal art training. He dropped out of school at seventeen and slept on park benches and friends' floors. He sold hand-painted postcards and t-shirts. He gate-crashed a restaurant where the critic Henry Geldzahler was eating with Andy Warhol and handed them a postcard. Warhol bought one. The art world opened.
By twenty-one he was showing in galleries. By twenty-two he was the youngest artist ever invited to Documenta in Kassel. The paintings are dense, layered, furious: text fragments, anatomical drawings, crown symbols, crossed-out words, references to Black history, jazz, boxing, anatomy textbooks, and street signage. They look unplanned but they are not. The crossed-out words are deliberate. He wanted you to read them, then register the erasure.
He and Warhol collaborated on a series of paintings in 1984 and 1985. The relationship was complicated by the art market's tendency to treat Basquiat as Warhol's protege rather than his peer, and by the fact that Warhol, older and more established, got better reviews for the joint work. Basquiat pulled away.
He died of a heroin overdose in 1988, at twenty-seven. His paintings now sell for over 100 million dollars. He would have found that both satisfying and absurd.
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