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The artwork 'The Last of Something' features two figures in an intimate pose against a dark atmospheric background. Oil painting with muted green and gray tones showcases expressive brushwork and rich texture. The composition creates a moody, contemporary feel on a 36x48 inch canvas by Amanda Ba.
The artwork 'The Last of Something' by Amanda Ba features an expressive oil painting with bold brushstrokes and a moody color palette dominated by muted greens and flesh tones. The composition shows two figures in an intimate setting against a shadowy background, rendered in a contemporary expressionist style on canvas, 36x48 inches, by Amanda Ba.
The artwork 'The Last of Something' by Amanda Ba features a dramatic oil painting with muted tones of gray, brown, and olive green. Two figures are depicted in an intimate composition against a subdued background. The brushwork is expressive and moody, creating a sense of emotional depth through bold strokes and tonal variations on a 36x48 inch canvas. By Amanda Ba.
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    Amanda Ba

    The Last of Something

    Original Artwork

    Dimensions: 36" x 48"

    Medium: Oil on canvas

    $248
    $248
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    $10,000
    Purchase
    This set of works are like wandering into different rooms at a college house party. The greyscale palette that makes even human skin look icy infuses a strange sense of a looming end, even apocalyptic, in the most lively and sociable moments.

    This artwork can be quickly cleared and rented for the duration of production, and can be delivered physically or as a high resolution download with printing rights.

    Amanda Ba

    Amanda Ba

    Born in Columbus, Ohio / Works in NYC

    Amanda Ba (b. 1998) is a painter who lives and works in New York City. She was born in Columbus, Ohio, but spent the first five years of her life with her grandparents in Hefei, China. Diasporic memory is central to her work—vivid paintings that combine personal memory with psychosexual fantasy, featuring figures that challenge a predominantly white Western canon of figural painting. Working closely with queer and post-colonial theory, her interventions in the Cannon do not aim to solely celebrate her cultural identity and its inclusion, but to interrogate its formation.

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