Labyrinth - Keith Haring
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Beskrivning
A graphic ink drawing by Keith Haring, featuring two stacked panels of dense, maze-like lines in his signature high-contrast style.
Keith Haring, an American artist active in the New York City street culture of the 1980s, produced this work in 1987. The composition consists of two stacked rectangular panels, each filled with a dense, continuous line that forms a maze-like structure. Haring employs his signature visual vocabulary, characterised by bold, black lines against a stark white background. The forms within the labyrinth suggest abstracted figures, circular motifs, and geometric paths that invite the viewer to trace the movement of the artist's hand.
This piece demonstrates Haring's interest in the relationship between public art and personal expression. By utilising a simplified, graphic language, he aimed to make his work accessible to a broad audience. The repetitive, rhythmic quality of the lines creates a sense of kinetic energy, despite the static nature of the medium. The work is signed and dated at the bottom, reflecting the artist's practice of documenting his creative output directly on the support. The lack of shading or perspective reinforces the flatness of the image, a common feature in Haring's graphic works. This print captures the immediacy of his drawing style, which often began without preparatory sketches. The labyrinthine patterns echo the complexity of urban environments and the interconnected nature of the social themes he explored throughout his career. As a museum-grade fine art print, this reproduction maintains the high-contrast aesthetic of the original ink drawing, ensuring the clarity of every line and curve.
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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
Labyrinth - Keith Haring
Artist Biography
Keith Haring
He moved to New York in 1978 to attend the School of Visual Arts and within two years had found his medium: white chalk on the matte black paper that covered unused advertising panels in subway stations. He drew in the stations almost every day between 1980 and 1985, sometimes producing forty drawings in a single session. Commuters watched. The police arrested him repeatedly for vandalism. The drawings kept appearing.
The subway work made him famous before galleries did. Radiant babies, barking dogs, crawling figures, flying saucers: a vocabulary of shapes repeated and recombined like a visual language. The line work was fast and confident and looked easy, which was part of the point. He wanted art that anyone could read immediately. In 1986 he opened the Pop Shop in SoHo, selling t-shirts, posters, and badges with his designs at prices people could actually pay. The art world called it selling out. Andy Warhol, who had been doing exactly the same thing for twenty years, supported him.
He was diagnosed with HIV in 1987 and with AIDS the following year. The last works are direct: the 'Ignorance = Fear' poster for ACT UP, the Barcelona mural 'Todos Juntos Podemos Parar el SIDA', the horned sperm figure that became his symbol for the virus. He set up the Keith Haring Foundation in 1989 to fund AIDS organisations and children's programmes. He died in February 1990, at thirty-one. He was cremated and his ashes were scattered in a field near Kutztown, close to where he first sat drawing with his father.
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