Monroe Series

Tan Kai-I

01
About the Monroe Series 關於夢露系列

Marilyn Monroe (1926-1962) was the most celebrated exotic beauty in the 20th century. Integrating his real-life experience with Monroe as the creative symbol, Tan Kai-I created a riveting painting series that brought a humorous touch of tragedy to the viewers.

Comprising a total of 39 pieces of work, the "Monroe Series" included Tan’s works presented at the Art Taipei 2012 and two of his solo exhibitions, respectively titled "Strip off, Marilyn Monroe" (2012) and "Monroe in 6 min 30 sec" (2013).

 

 

 

Why Monroe?

 

Many people would ask: why Monroe?

As far as Tan is concerned, Monroe was an exceptionally pretty woman. She was beautiful, sexy, adorable and appealing. In addition to exuding unconventional pulchritude, she was as self-confident as languid. She remained unruffled and charming even though she was in her birthday’s suit.

Nonetheless, Tan chose Monroe as the subject because he detected a sense of loneliness in her eyes.

In the compositions of Tan’s works, Monroe often appeared in solitude, being detached from her immediate surroundings. She tended to smoke and act unconcerned even though people were around her. In this way, Tan seemed to suggest that absolute solitude actually looms behind the veil of the gorgeous, voluptuous and captivating prototype of Monroe.

To the artist’s eye, Monroe was such a figure rich in gradation and aesthetic beauty, which was why he adopted her image to convey his ideas about life, no more than Monroe was the protagonist in the film directed by the artist in which she recounted the story that the artist attempted to tell.

 

Monroe Series 03 [Marilyn Monroe in New York]

 

 

 

The Artist’s Imagination about Monroe

 

The "Monroe Series" was primarily based on Monroe’s stage and life photos derived from magazines and the Internet. Tan collected these photos, and then simplified as well as modified the images, thereby putting his own interpretations on them.

In this series, Monroe was a ravishing protagonist traveling through space-time and wandering across reality and virtuality. Via Monroe as an intermediary, the artist managed to express and simulate his ideas about his life experiences and emotions, be they loneliness, joy, sadness, delight, or contradictory feelings of all stripes.

The diverse backgrounds of the works in this series ranged from wilderness and battlefield to buildings and even refrigerators, against which Monroe was always calm and composed, puffing away at a cigarette.

 

(left) Monroe Series 11 [Marilyn Monroe Joined the Spanish Civil War in 1936]
(center) Monroe Series 04 [Marilyn Monroe in the Tree]
(right) Monroe Series 15 [Marilyn Monroe Hides in the Refrigerator to Sleep]

 

Tan deliberately created a contradictory and ambiguous tendency between the protagonist and the scenes in the "Monroe Series." The contradictions emerged on the one hand from the artist’s understanding of Monroe’s personal traits, (i.e., loveliness, attractiveness, innocence and charm intertwined with sex, politics, power and desire), and on the other hand out of the artist’s checkered life experiences, since many events and emotions are quite irreconcilable in our quotidian existence, insofar as we believe that life consists of contradictions.

Admiring Tan’s works, we may discern the treacherous, amusing, pleasant or mocking undertones in the compositions. Whatever implications they carried, each of his works was laden with a faint hint of sorrow. Tan believes that in some ways his oeuvre is a dead ringer for Charles Chaplin’s films that are as humorous and entertaining as thought-provoking.

02
The Artist's Creative Practice 創作表現

The Oriental Quality of the Monroe Series

 

It was said that Tan’s oil paintings display the quality of ink.

The works presented in his solo exhibition "Strip off, Marilyn Monroe" featured “blank-leaving,” a technique derived from ink paintings.

The “blanks” in the compositions of these works were not so much superimposed as reserved. In oil paintings, the brightest part of the composition is usually the result of multiple alterations and smearing. To reserve these blanks, it would be quite difficult and require thoughtful considerations.

Tan claimed that he did not try to make an eclectic mix of oriental and occidental concepts or techniques, but spontaneously created this series with all the methods he could apply. Nevertheless, this practice has produced results—a perfect fusion of oriental and occidental qualities—way beyond his initial expectations.

 

Monroe Series 21 [SEXBOMB]

 

 

 

“Fantastical” Creations

 

Tan tends to paint in bursts of creativity without any sketch or preparation. He prefers chaos to order, and enjoys observing the rhythmic vitality hidden in things at sixes and sevens, thereby properly formulating his frame of mind. Every stroke of Tan’s brush bears his characteristic signature of “organized chaos.”

Such a way of expression is “chaotic” due to its lack of rules and logic. What is intriguing is that it has become Tan’s most common practice. In other words, Tan creates either by picking up at random or with extraordinary ideas. His practice is inspired by the term “fantastical” in the "Classic of Changes," implying “beyond imagination.” The artist always projects contradictions and chaos onto his works.

 

Monroe Series 17 [Marilyn Monroe Pulling a Bobcat Tail] (partial)

 

Tan joked that his creative practice is a sort of "Arte povera," seemingly fragmentary, unremarkable, chaotic and even monochrome. However, it has been the most adequate approach to show the artist’s great creativity. The automatic drawing driven by personal creativity wonderfully preserves the flash of the artist’s intuition and easiness at the moment of creating.

 

 

 

The Significance of the Symbols and Scenes in the Monroe Serie

 

Every artist has preferences and may habitually apply specific symbols and scenes.

Tan is certainly no exception. Some symbols and scenes (e.g. black cars, smiling figures, cigarettes and wilderness) continue to appear in his works. They constitute the elements of Tan’s painting style, be they used for decoration or as subjects.

As far as the artist is concerned, the black car represents enjoyable company. The square-shaped car conveys a sense of honest and faithfulness.

The smiling faces denote the attitude towards the way of the world, be it genuine laugh, smirk or smile through tears. They lively embody the joys and sorrows of life.

Many of Tan’s works contain images of smoke, including clouds of smoke curling upward, cigarette smoke, smoke from a car breakdown, and billows of smoke in the wilderness. Smoke is emblematic of a fickle, unreal state; and the haze of smoke renders realities all a blur.

The wilderness is one of Tan’s favorite subjects. The artist is fond of the sense of desolation brought by the wilderness grown with weeds or tiny number of trees. The absolute emptiness is thrown into sharp relief by the “paucity” that envelops the completely desolate landscape, no more than Ni Zan’s paintings that evoked the simplest metaphor to communicate immeasurably profound meanings; that is, to comprehend “more” from “less.”

03
The Monroe Series in Three Stages 三個時期的夢露

The Monroe Series in 2010—The Commencement

 

The first piece of the "Monroe Series" is [36], a work initially dedicated to a joint exhibition. Tan happened to have a photograph album of Marilyn Monroe at hand when he was conceiving that work. By reference to the album, the artist painted this work without doing any sketch. Monroe’s facial expression in this painting, along with the techniques applied, became the prototype for the subsequent works. To put it another way, this work marked the dawn of the "Monroe Series."

The status of Monroe at this stage exhibited stylistic indeterminacy. Tan tried to produce an effect of stark contrast in [36], which was why he firstly outlined Monroe’s contour and features in a drawing-like fashion, and then finished the composition with the dry-brush technique.

 

Monroe Series 01 [36]

 

 

 

The Monroe Series from 2011 to 2012—Strip off, Marilyn Monroe & the Art Taipei

 

In 2012, Tan staged his first solo exhibition on Marilyn Monroe, titled "Strip off, Marilyn Monroe," followed by the display of his new pieces featuring Monroe at the Art Taipei in the same year.

The Monroe at this stage was shown in concise contour lines with a particular stress on her characteristics and facial expressions. The artist made radical simplifications in Monroe’s physique, rendering her flattened in the works. He on the one hand erased her sex appeal, and on the other hand stripped her naked and confronted her with the viewers. The results of the two practices were as conflicting as harmonious.

 

Monroe Series 14 [Marilyn Monroe Comes Out of Hibernation] (partial)

 

 

[Marilyn Monroe Joined the Spanish Civil War in 1936] is a work created during this stage. The artist used short wrinkle strokes to simulate the chiaroscuro of vintage black-and-white photos. The background showed a gradation of shades of grey with four darker corners, which not only formed a focal point but also produced the vignette effect endemic to old-fashioned cameras. The vague, delicately painted figure and background represented the common visual texture of photographs in the 1930s. This approach misplaced time and space, giving the viewers a sense of nostalgic retrospection.

 

Monroe Series 11 [Marilyn Monroe Joined the Spanish Civil War in 1936] 

 

 

In the work [Marilyn Monroe and Her Husband Waiting for a Bus], the background was also painted with short strokes in a gradation of grey color. Besides, the spatial arrangement was deliberately contorted. The two figures’ reflections beneath their feet gave a damp, gloomy tactile quality to the surface of the ground, conveying a psychedelic sense of phantasm. The Monroe in this work was less delicate and elegant in physique than that in [Marilyn Monroe Joined the Spanish Civil War in 1936]. Instead, she demonstrated absolute linearity. The linear protagonist not only highlighted the hierarchy between the figures and the background, but also blended “harmoniously” with the composition rife with contradictions. Against the dull grey background, Monroe was thrown into sharp relief with her “white” skin, making her nothing short of the focus in the composition.

 

Monroe Series 08 [Marilyn Monroe and Her Husband Waiting for a Bus]

 

 

To create [Marilyn Monroe in the Jelly] and [Marilyn Monroe with the Jelly], Tan tried to employ "écriture automatique" in a more intuitive manner. He used oil pastels and painted like a child, thereby creating a more natural rhythm of emotions insofar as to lay bare the smallest error of strokes. This attribute manifested itself clearly in [Marilyn Monroe with the Jelly]. The slightly askew jelly, together with the quick strokes, lent an air of childlike innocence and haphazard easiness to this work. Both works featured the translucent jelly. It was the most precise tactile quality conveyed with the simplest method, and the most realistic image shaped in the “poorest” way.

 

(up) Monroe Series 24 [Marilyn Monroe with the Jelly] (partial)
(down) Monroe Series 23 [Marilyn Monroe in the Jelly] (partial)

 

As a matter of fact, Monroe, the protagonist of this series, had been in a state of “indeterminacy,” just because the artist was exploring the most appropriate way to present her.

 

 

 

The Monroe Series in 2013—Monroe in 6 min 30 sec

 

In 2013, Tan mounted his second solo exhibition on Marilyn Monroe, titled "Monroe in 6 min 30 sec."

The Monroe at this stage was no longer clearly demarcated but shrouded in a hazy mist. Echoing the source of inspiration, the compositions of the exhibits were every bit as uncertain and ambiguous as the film. Following "Strip off, Marilyn Monroe," this exhibition not only sharpened the chiaroscuro of Monroe’s physique, but also rendered her more approachable and alluring. In addition, the artist sought to create an “aesthetic” image for such a celebrated legend.

 

Monroe Series 34 [Pearls (05:19)]

 

 

The work [Marilyn Monroe Wearing a Pearl Necklace] showed imbricated shades of grey with the rendering of an extremely thin layer of black paint, which gave a soft, silky texture to its composition. Monroe’s face and the car between her thighs looked at each other from the two poles of the composition, and the pearl necklace that connected them was the outcome of wiping by the artist. The inadvertent error of strokes in the composition (e.g. the “X” mark on her chest or the lines on her arms) was reminiscent of meteors that streak through the night sky, revealing the imperfection in the uncommon grace and beauty. In this work, Monroe’s physique presented a mesmerizing contrast between light and shadow, rendering itself as blurry as real. Such aestheticism was the emblem of Tan’s creative style during this stage.

 

Monroe Series 37 [Marilyn Monroe Wearing a Pearl Necklace]
04
The Monroe Series in 2010 2010年的夢露

 

 

Monroe Series 01

[36]

2010 / 73x60cm / oil on canvas

 

Monroe Series 01 [36]

 

The viewers would pay particular attention to the number “36” which is the title of this work as well. They would also want to grasp the meaning of this title. Numbers count as a universal medium for communication. They carry a variety of implications, and everyone has a set of numbers in mind. They may refer to quantity, era or code. The number “36” in the composition implied Monroe’s age when she died. This work was created in remembrance of Monroe on the one hand, and symbolized the frozen time on the other.

 

 

 

 

05
The Monroe Series from 2011 to 2012 2011-2012年的夢露

"Strip off, Marilyn Monroe" was Tan’s solo exhibition appeared in 2012. Tan already made clear that, at the very beginning, he had no other idea about Monroe than she was a screen idol. The works displayed in this solo exhibition gave prominence to the wildly strange fantasies revolving around this screen goddess, marking a willful interpretation of Marilyn Monroe.

This solo exhibition had several unique qualities, such as “risky yet calm,” “distinct but illusory,” and “authentic yet bizarre.” Imbuing the compositions with contradictions has been Tan’s preferred approach, which was exemplified by the works he adapted from photographs in order to express the feeling of transcending the confines of time and space from his personal perspective.

 

 

 

 

Monroe Series 02

[Marilyn Monroe Going Camping]

瑪麗蓮夢露在露營

2011 / 130x162cm / oil on canvas

 

Monroe Series 02 [Marilyn Monroe Going Camping]

 

[Marilyn Monroe Going Camping] depicts Monroe in a place far from the city. The car is a dead ringer for the cabs in London. Black car is one of Tan’s favorite creative elements. The background is based on the scenic spot Ronda (known for its sheer cliffs and precipitous rock faces) near Sevilla, the Spanish city in which the artist stayed when he studied abroad.

There seems to be a campfire, empty beer cans, and scattered rubbish on the clearing in the bottom right-hand corner of the canvas. It appears that some mysterious documents are burned. The boots are neatly laid near the cliff edge, suggesting that Monroe took off the boots before sitting naked in the black car, a car with its front wheels hanging over the cliff.

The car’s glossy stoving varnish serves as the visual focus of the composition. Monroe is puffing on a cigarette at the time, looking into the distance as if she is expecting someone. The scene contains subtle clues about a puzzle waiting for someone to crack it.

 

 

 

 

Monroe Series 03

[Marilyn Monroe in New York]

瑪麗蓮夢露在紐約

2011 / 162x130cm / oil on canvas

 

Monroe Series 03 [Marilyn Monroe in New York]

 

In [Marilyn Monroe in New York], the row upon row of high-rise buildings constitute an irregular, crowded and bustling cityscape. Monroe is in a black car lodged in a perilous way with its front wheels hanging over the balcony of a tall building in New York. The black car in a bizarre shape seems to be her sole anchor, even though it is tilting forward and the street buzzing with activity is staring her in the face. The naked Monroe holds a cigarette between her lips, savoring the undisturbed peace and tranquility with her eyes closed.

What on earth is Monroe doing, or is the whole scene little more than one of her dreams?

 

 

 

 

Monroe Series 04

[Marilyn Monroe in the Tree]

瑪麗蓮夢露在樹上

2011 / 162x130cm / oil on canvas

 

Monroe Series 04 [Marilyn Monroe in the Tree]

 

In [Marilyn Monroe in the Tree], the scene is little less than the aftermath of a catastrophe with trees fallen all around and a car breakdown on a tree.

From the car on the tree and the scene of devastation everywhere, we can easily infer that this work reflects the aftermath of a deluge.

The background oozes a tranquil and secluded aura of austerity in the aftermath of a calamity. Monroe sits behind the half-open door, probably gazing at the smoke billowing out from the engine. The smoke of the car echoes that of the cigarette she holds. Monroe is alone in the car which appears askew on the giant tree, yet she is not bursting to get off the car. Instead, she sits and witnesses the incident in a leisurely manner, seeming to relish the tranquility and solitude of the moment.

 

 

 

 

Monroe Series 05

[Marilyn Monroe Waiting for Her Car to Be Fixed]

瑪麗蓮夢露在路邊等修車

2011 / 162x130cm / oil on canvas

 

Monroe Series 05 [Marilyn Monroe Waiting for Her Car to Be Fixed]

 

[Marilyn Monroe Waiting for Her Car to Be Fixed] depicts the scene that Monroe’s car had a breakdown on the road and a repairman is repairing the car off the road. Monroe is smoking and waiting in the car. The method of rubbing lends verisimilitude to the seat.

The repairman is terribly embarrassed probably due to the location he is working on. All the objects (including Monroe) on the street are disproportionate to their manifestations in the real world. There is also a pair of huge boots that seem to belong to Monroe. The whole scene brims with a sense of surrealism.

 

 

 

 

Monroe Series 06

[Marilyn Monroe on the Battlefield Having Afternoon Tea]

瑪麗蓮夢露戰場上喝下午茶

2011 / 130x162cm / oil on canvas

 

Monroe Series 06 [Marilyn Monroe on the Battlefield Having Afternoon Tea]

 

[Marilyn Monroe on the Battlefield Having Afternoon Tea] features a war scene that a CH-47 Chinook is carrying troops to the front line. Monroe leans on a rocker and has afternoon tea in a leisurely, graceful and nonchalant manner, as if she is impervious to the arrival of the troops. A vinyl record player is placed near Monroe’s feet, giving the battlefield a sense of calmness. 

 

 

 

 

Monroe Series 07

[Marilyn Monroe Smoking in The Car]

瑪麗蓮夢露坐在車裡抽菸

2011 / 130x162cm / oil on canvas

 

Monroe Series 07 [Marilyn Monroe Smoking in The Car]

 

[Marilyn Monroe Smoking in The Car] presents Monroe puffing on a cigarette. It’s hard to tell whether she is smiling or shedding tears. On such an unusual gradient, it is left to the viewers’ imagination as to whether the symbol on the side window is a cross or the letter “X.”

 

 

 

 

Monroe Series 08

[Marilyn Monroe and Her Husband Waiting for a Bus]

瑪麗蓮夢露和她的老公在車站等公車

2011 / 162x130cm / oil on canvas

 

Monroe Series 08 [Marilyn Monroe and Her Husband Waiting for a Bus]

 

Tan created this work by reference to the photo depicting Monroe and her third husband Arthur Asher Miller (1915-2005) in a garden.

The artist substituted a station for the garden, while deliberately preserved the plant standing straight in front of the figures.

In [Marilyn Monroe and Her Husband Waiting for a Bus], the pretty Monroe is stark naked, posing for a photo with her husband whose upper body is elongated. Monroe’s husband gently inclines towards her and awkwardly holds her in his arm. The husband in well-tailored suit contrasts sharply with the naked Monroe. His face is watered down, becoming translucent with a touch of nihilism, which indicates his minimized significance. A stranger’s smiley serves as his face substitute. The scene resembles the encounter between Monroe and her fan at the station. At the moment, Monroe is every bit as deathly pale as a cardboard cut-out, sinking into apathy towards the figure beside her, which evokes strong associations for the viewers.

Blue smoke curls up from her cigarette, which marks the emptiest part of the composition and suggests that all is primordially void...

 

 

 

 

Monroe Series 09

[Saint Marilyn Monroe]

聖女瑪麗蓮夢露

2011 / 162x130cm / oil on canvas

 

Monroe Series 09 [Saint Marilyn Monroe]

 

The conception of [Saint Marilyn Monroe] was inspired by "The Martyrdom of Saint Sebastian," a well-known painting in the Western art history. The whole scene is like a tableau that Monroe is tied on a wooden semi-crucifix and the words on the ribbon atop the crucifix reads “Santa Marilyn Monroe,” as if she is canonized as a saint.

The scene of St. Sebastian’s martyrdom finds expression in Monroe with a minor difference. To reduce her pain, Tan replaced the sharp arrow with a toy arrow adhering to her body, True to form, Monroe feels completely at ease with a cigarette in her hand.

Two men with filthy expressions stand behind Monroe. One pulls her leg with a rope, and the other sits on the sidelines. The unpacked suitcase in front of them implies that the answer was given. The suitcase contains no other things than an extinguishing cigarette. Its smoke curls up in the form of an index finger pointing upward, hinting that the answer lies at the top of the composition. Monroe’s gesture leads the viewers to a wisp of cigarette smoke, and the answer as to who put her in such an impasse is shrouded in the fog, from which two English abbreviations, namely JFK and RFK, are faintly shown, which alludes to some mystery.

 

 

 

 

Monroe Series 10

[Giant Marilyn Monroe]

巨人瑪麗蓮夢露

2011 / 130x162cm / oil on canvas

 

Monroe Series 10 [Giant Marilyn Monroe]

 

In [Giant Marilyn Monroe], a Pontiac races on the U.S. Route 51 surrounded by a barren land when Monroe appears in the background. Her sudden appearance interrupted this seemingly real scene, prompting us to wonder what the reality is.

On the roadside, the billows of smoke rise into the sky. Taking a closer look at it, we may find that the larger-than-the-car object from which the smoke rises is nothing but an ashtray that Monroe placed there conveniently when observing us out of sheer boredom.

It turns out that the world we take to be true is no more than a replica of "The Truman Show." Monroe is the God looking superciliously at human beings, making them feel dwarfed by it.

 

 

 

 

Monroe Series 11

[Marilyn Monroe Joined the Spanish Civil War in 1936]

瑪麗蓮夢露參加1936年西班牙內戰

2011 / 130x162cm / oil on canvas

 

Monroe Series 11 [Marilyn Monroe Joined the Spanish Civil War in 1936]

 

Tan created this work by reference to [The Falling Soldier], a famous photograph taken by Hungarian American war correspondent Robert Capa (1913-1954). This photo was believed to be taken during the Spanish civil war, capturing the very moment when a soldier was shot and falling.

In [Marilyn Monroe Joined the Spanish Civil War in 1936], Monroe is involved in the Spanish civil war without a reason. Her facial expression is reminiscent of [The Ecstasy of Saint Teresa] carved by Gian Lorenzo Bernini (1598-1680). In other words, her ambiguous facial expression shows not so much the pain of the falling soldier as the excitement and delight of profound perplexity. The soldier’s combat belt becomes a sexy and engrossing accessory on Monroe. From cruelty and pain to pleasure and sex appeal, everything appears grudgingly absurd. Monroe’s slightly backward figure turns into a radiant and alluring moment.

 

 

 

 

Monroe Series 12

[Marilyn Monroe Being Pinched]

瑪麗蓮夢露被捏

2011 / 130x162cm / oil on canvas

 

Monroe Series 12 [Marilyn Monroe Being Pinched]

 

Created in the late 16th century, [Portrait présumé de Gabrielle d’Estrées et de sa soeur la duchesse de Villars] has been hailed as a magnum opus of the Second School of Fontainebleau. In that painting, the woman on the right-hand side is the mistress of King Henri IV (1553-1610), and the other on the left-hand side might be her sister. The latter is pinching the former’s nipple, which implies the mistress’ pregnancy. The maid in the background is sewing clothes, suggesting the baby is about to be delivered.

By reference to that iconic painting, Tan created the work [Marilyn Monroe Being Pinched]. The curtain on both sides of the room exhibit a silky texture, marking the opening of the show. The man in a suit on the left-hand side pinches Monroe’s nipple, and Monroe shrugs her shoulders as a response to this sudden movement. The weird scene carries the same implications as that of Gabrielle d’Estrées and the Duchess de Villars. Monroe’s pregnancy is no trivial matter, and speculations are rife as to who is the baby’s father. The maid in the former painting is replaced by a gunman and the car he used when committing a crime, which renders the story even more puzzling and bewildering.

 

 

 

 

Monroe Series 13

[Marilyn Monroe Evades the Enemy by Hiding under a Magic Leaf]

只要躲在神奇的葉子底下瑪麗蓮夢露就不會被敵人找到

2011 / 130x162cm / oil on canvas

 

Monroe Series 13 [Marilyn Monroe Evades the Enemy by Hiding under a Magic Leaf]

 

In [Marilyn Monroe Evades the Enemy by Hiding under a Magic Leaf], no sooner are the tank and the enemies in the ally approaching, than the naked Monroe is hiding under a magic leaf and leaving her buttocks uncovered. It resembles kids playing hide-and-seek. She believes that she could become invisible under the protection of some magic.

Monroe turns her head occasionally, observing the dangerous situation. The soldier in front of her gets rather confused, wondering if Monroe is still there.

 

 

 

 

Monroe Series 14

[Marilyn Monroe Comes Out of Hibernation]

冬眠的瑪麗蓮夢露從冰箱走出來

2011 / 162x130cm / oil on canvas

 

Monroe Series 14 [Marilyn Monroe Comes Out of Hibernation]

 

Adapted from the photo in which Monroe is stepping out of a limousine, [Marilyn Monroe Comes Out of Hibernation] depicts Monroe stepping out of a refrigerator full of Cokes whose trademark was changed from Coca-Cola to Cocx-Colx. Monroe wears nothing but a mink coat, with a naughty mink grabbing at a bottle of Cocx in passing, as if it drank not enough. The only symbol that covers Monroe’s private parts looks like the letter “X” as well as a cross. 

 

 

 

 

Monroe Series 15

[Marilyn Monroe Hides in the Refrigerator to Sleep]

瑪麗蓮夢露躲在冰箱睡覺

2011 / 130x162cm / oil on canvas

 

Monroe Series 15 [Marilyn Monroe Hides in the Refrigerator to Sleep]

 

[Marilyn Monroe Hides in the Refrigerator to Sleep] depicts Monroe sitting in a refrigerator used to display desserts or beverages. The shelves next to her are crammed with unknown drinks with a rabbit as the trademark. It turns out that the trademark comes from the pattern on Monroe’s breast with her nipples as the rabbit’s eyes. The cross under Monroe’s feet is reminiscent of an airplane, suggesting that Monroe is only too eager to escape from the exorbitant social pressure with the help of this religious symbol. 

 

 

 

 

Monroe Series 16

[Candy Streams from Marilyn Monroe’s Eyes]

瑪麗蓮夢露眼睛流糖果

2011 / 162x130cm / oil on canvas

 

Monroe Series 16 [Candy Streams from Marilyn Monroe’s Eyes]

 

In [Candy Streams from Marilyn Monroe’s Eyes], what greets the viewers is the huge and blurred eyes in the background, suggesting that nothing can resist Monroe’s melancholic gaze. What are the objects she sheds from her eyes? Are they candies (happiness), bombs (danger), or sugar-coated bombs? It seems that only Monroe knows this answer…

 

 

 

 

Monroe Series 17

[Marilyn Monroe Pulling a Bobcat Tail]

瑪麗蓮夢露拉山貓尾巴

2011 / 162x130cm / oil on canvas

 

Monroe Series 17 [Marilyn Monroe Pulling a Bobcat Tail]

 

[Marilyn Monroe Pulling a Bobcat Tail] features Monroe hanging on the tree and pulling a bobcat’s tail, while another bobcat is grabbing her. The mirror images of Monroe and the bobcat, along with the twigs growing in opposite directions at the two poles, present an interesting contrast.

 

 

 

 

Monroe Series 18

[Marilyn Monroe Greeting from the Window]

瑪麗蓮夢露在窗檯打招呼

2011 / 162x130cm / oil on canvas

 

Monroe Series 18 [Marilyn Monroe Greeting from the Window]

 

[Marilyn Monroe Greeting from the Window] depicts Monroe opening the curtain to see what’s happening. It is just the heater’s smoke that attracts the fire department’s attention. Monroe stands on the windowsill, watching the disproportionately small firefighter who directs a jet of water into her house. The twisted and deformed fire truck makes the whole scene somewhat absurd. No sooner does Monroe open the curtain, than the firefighter directs the jet of water onto her naked body. “Where on earth are you spurting the water,” Monroe thought.

 

 

 

 

Monroe Series 19

[Marilyn Monroe Smoking while Asleep]

瑪麗蓮夢露睡覺在抽菸

2011 / 162x130cm / oil on canvas

 

Monroe Series 19 [Marilyn Monroe Smoking while Asleep]

 

[Marilyn Monroe Smoking while Asleep]shows Monroe lying statue-like on the bed and puffing on a cigarette. A jeep came from afar. A little man gets off the jeep and ascends the hilltop casually. Stepping on a raised rock, he looks into the distance, as if he is looking for the way ahead. Monroe on the bed does not mind his disturbance at all and continues her dream. She is sleeping without getting bothered by his gaze, which is strongly reminiscent of the scene of “A Voyage to Lilliput” in "Gulliver’s Travels."

 

 

 

 

Monroe Series 20

[Marilyn Monroe Walking Home]

瑪麗蓮夢露走路回家

2011 / 162x130cm / oil on canvas

 

Monroe Series 20 [Marilyn Monroe Walking Home]

 

In [Marilyn Monroe Walking Home], Monroe abandoned her broken-down black car on a deserted road. Black smoke billows from the car’s engine. Looking disheveled, Monroe walks woodenly. Her veiled face is faintly discernable in the mist on the upper right-hand side, gazing into the distance with a touch of nostalgia. 

 

 

 

 

Monroe Series 21

[SEXBOMB]

2011 / 162x130cmx3pcs / oil on canvas

 

Monroe Series 21 [SEXBOMB]

 

Monroe is literally a sex-bomb. In [SEXBOMB], she embraces a huge bomb in her birthday’s suit, falling out of a bomber in the air together with other bombs. The background features a bird’s eye view. The size and number of the bombs seem to portend the raging fire. It is at this moment that Monroe gazes at the bombardier (or the viewer), biding him a final farewell.

With still a distance from the ground, Monroe is counting down and embracing tightly the only object that she can grasp hold of, and she, together with the extremely dangerous object, is about to vanish like smoke in the air… 

 

 

 

 

Monroe Series 22

[Monroe is Waiting for Someone]

夢露的等待

2012 / 130x162cm / oil on canvas

 

Monroe Series 22 [Monroe is Waiting for Someone]

 

In [Monroe is Waiting for Someone], a gentle breeze drifts into the car, ruffling Monroe’s hair and stirring the cigarette smoke between her fingers. The bodily elegance painted by Amedeo Modigliani (1884-1920) finds its expression in Monroe’s slightly leaning posture. The texture of the seat behind her was rubbed with foam. At first glance, the muzzle lurking in the shadow looks like the vent of the cool breeze. The connections among the car window, Monroe’s beautiful hair and cigarette smoke renders the imagery as gentle and smooth as river water.

Tan created this work on the basis of a real social event in which a woman decided to sacrifice herself by hiring a gunman to kill her in exchange for her family’s happiness brought by the insurance coverage. In this painting, Monroe replaced the woman as the protagonist. She knowingly waits for the moment with a dreamy expression on her face, showing a subtle touch of sorrow.

 

 

 

 

Monroe Series 23

[Marilyn Monroe in the Jelly]

果凍裡的夢露

2012 / 162x130cm / oil on canvas

 

Monroe Series 23 [Marilyn Monroe in the Jelly]

 

[Marilyn Monroe in the Jelly] depicts the chubby Monroe concealing herself in a plump jelly with her hands embracing her curled legs. She looks carefree and languid. The billowing smoke seems to be her only connection to the external world.

Monroe hides her face in the jelly, as if she is avoiding something. We can faintly see Monroe’s eyes gazing at us, seeming to tell us that “I am quite safe and happy here,” and meanwhile to observe the external world, ready to witness the changes about to come in a composed manner.

 

 

 

 

Monroe Series 24

[Marilyn Monroe with the Jelly]

果凍與夢露

2012 / 162x130cm / oil on canvas

 

Monroe Series 24 [Marilyn Monroe with the Jelly]

 

[Marilyn Monroe with the Jelly] shows that Monroe exposes the upper half of her face outside the jelly, puffing on a cigarette and enjoying the tactile quality of the wobbly jelly. Tan created this work with simple, restrained yet deft strokes, bringing a subtle touch of childlike innocence and making the scene pretty intriguing.

 

 

 

 

Monroe Series 25

[Happy Fuck to You]

2012 / 162x130cm / oil on canvas

 

Monroe Series 25 [Happy Fuck to You]

 

[Happy Fuck to You] features the naked Monroe standing on the podium under the spotlight which turns Monroe into a silhouette. Still, we can clearly recognize her sexy physique and angelic face.

Smiling but failing to conceal her uneasiness and embarrassment, Monroe blocks the blinding light with her hands and tries hard to identify its source. The microphones flock to the podium waiting for her speech, only to hear Monroe saying: “Happy Fuck to You!”

 

 

 

 

Monroe Series 26

[Hi! John F. Kennedy]

你好甘迺迪

2012 / 162x130cm / oil on canvas

 

Monroe Series 26 [Hi! John F. Kennedy]

 

[Hi! John F. Kennedy] shows Monroe putting her work aside and coming all the way for Kennedy’s birthday party. After singing the song “Happy Birthday,” she went backstage to meet the President.

In the room bristling with books, the naked Monroe appears at odds with Kennedy in a suit who gives her a greeting by touching her breast.

Monroe’s inflatable doll-like appearance physically implies that she is treated as a plaything. The stark contrast between light and shadow imbues the scene with obscurity and weirdness. Kennedy’s face is blurred even though he enjoys the status as the U.S. President, and the focus is exclusively on Monroe the exotic beauty.

 

 

 

 

Monroe Series 27

[Marilyn Monroe & Tank]

夢露與戰車

2011-2012 / 130x162cm / oil on canvas

 

Monroe Series 27 [Marilyn Monroe & Tank]

 

[Marilyn Monroe & Tank] depicts a plump tank relentlessly running over Monroe who lies on a slope. The smoking cannon implies that the tank has just fired shells. The comic symbol next to the tank also appears above Monroe’s tiptoe, showing the sense of shaking in a humorous fashion.

The number on the tank represents the year when this painting was created. Monroe’s relaxed expression seems to tell us that she is relishing being caressed by a soft sponge rather than run over by a heavy tank. The composition evokes associations of sex, isn’t it?

 

 

 

 

Monroe Series 28

[Happy Birthday to you]

2013 / 100x80cm / oil on canvas

 

Monroe Series 28 [Happy Birthday to you]

 

In [Happy Birthday to You], Monroe turns sideways and holds a rifle, shooting at the auditorium with her back facing the viewers, which seems to tell them that she is playing a sparkler. At the moment of firing, time stops elapsing and the microphone on the podium stays tilted in the air. The flare at the muzzle resembles carnival fireworks, accompanying Monroe’s face and adorable physique, making the scene nothing short of a game.

 

 

 

 

Monroe Series 29

[Marilyn Monroe Goes to New York]

夢露去紐約

2013 / 80x100cm / oil on canvas

 

Monroe Series 29 [Marilyn Monroe Goes to New York]

 

[Marilyn Monroe Goes to New York depicts] Monroe driving to New York, a city all too familiar to her. The shades of grey reflect her mood. The familiar landscape looks so cold and unapproachable. Looking out of the side window at the cityscape and puffing on a cigarette, she is speechless, deep in thought…

 

 

 

 

06
The Monroe Series in 2013 2013年的夢露

In 2013, Tan staged "Monroe in 6 min 30 sec," his second solo exhibition on Marilyn Monroe. His previous works on Monroe were relatively arbitrary whether in terms of understanding or interpretation, probably because they were the artist’s first attempt to depict this screen goddess. Feeling that he used to mistreat her by painting her image casually, Tan refined Monroe’s image as a compensation this time, which marked the major stylistic difference between the two solo exhibitions.

 

 

 

 

"Monroe in 6 min 30 sec" is a set comprising 24 screenshot-like paintings. The number “24” represents the 24 hours of a day, a cycle from the beginning to the end.

To gain a better understanding of Monroe, Tan pored over a bulk of relevant material on her, finding that acting in erotic movies had been Monroe’s livelihood. Tan thus revolved his creations around this theme, thereby reinterpreting the whole event from his personal perspective. Hence "Monroe in 6 min 30 sec" was produced.

Here’s the story…

“A dim scene unfolded in the black-and-white film. A black car zoomed by, with a person sitting in it. The indistinct shape loomed like a woman. She entered a dark room and striped naked. It was hard to tell who the woman is. Afterwards, she went home on a rainy day…”

The women appearing in the film is reportedly Monroe, yet many people cast doubt on its authenticity. However, no one knows the truth. The truth remains secret. The only thing we know for sure is that Monroe was a tragic figure engulfed by the mass media. Tan sought to create new understanding and imagination about Monroe by reference to the content of this film.

"Monroe in 6 min 30 sec" was divided into six parts, including [The Beginning (00:01)], [Departure (00:02 00:03 01:04)], [Stripping off (01:05 02:06 02:07 03:08)], [Composed (03:09 03:10 03:11 04:12 04:13 04:14 04:15)], [Pearls (04:16 05:17 05:18 05:19)], and [The End (05:20 06:21 06:22 06:23 06:24)]. The pictorial style was a dead ringer for screenshots, giving this set of paintings a documentary quality.

 

 

 

 

Monroe Series 30

[The Beginning (00:01)]

開頭(00:01)

2013 / 80x100cm / oil on canvas

 

Monroe Series 30 [The Beginning (00:01)]

 

The story unfolds in the early morning when the fog still shrouds the city so that headlights must be turned on. As the beginning, [00:01] features the number “0630,” implying the duration of this short film. The pearl-like images encircle the number, resembling a corporate logo shown at the beginning of a film.

Tan uncovered the exhibition theme with numbers because they are as simple as rich in implication. Numbers may convey meanings in a general, unclear and ambiguous way.

 

 

 

 

Monroe Series 31

[Departure (00:02 00:03 01:04)]

出發(00:02 00:03 01:04)

2013 / 80x100cmx3pcs / oil on canvas

 

Monroe Series 31 [Departure (00:02 00:03 01:04)]

 

Monroe’s car zooms by from left to right at the beginning, and from right to left at the end, which represents departure and return. [00:02] depicts Monroe driving her car with the headlights turned on, implying that it is still before the crack of dawn. The tiny number of trees in the background suggests a desolate suburb. From [00:02] to [01:04], the compositions contain no other image than Monroe and her car. The continual zooming in demonstrates the process of departure.

 

 

 

 

Monroe Series 32

[Stripping off (01:05 02:06 02:07 03:08)]

更衣(01:05 02:06 02:07 03:08)

2013 / 80x100cmx4pcs / oil on canvas

 

Monroe Series 32 [Stripping off (01:05 02:06 02:07 03:08)]

 

[01:05] depicts Monroe’s arrival. In [02:06] and [02:07], the voyeur-like spotlights fall on her physique. [02:07] and [03:08] show Monroe ready to unveil her naked body beneath the veneer of her beautiful dress.

 

 

 

 

Monroe Series 33

[Composed (03:09 03:10 03:11 04:12 04:13 04:14 04:15)]

坦然(03:09 03:10 03:11 04:12 04:13 04:14 04:15)

2013 / 80x100cmx7pcs / oil on canvas

 

Monroe Series 33 [Composed (03:09 03:10 03:11 04:12 04:13 04:14 04:15)]

 

The camera zooms in from [03:09] to [04:13]. [04:14] shows the conversion of image, depicting the association between Monroe’s physical body and the car. [04:15] goes back to the reality in which Monroe strips off, at the time when the car, as her sole company, appears near her feet, casting light on the protagonist who is all by her lonesome.

 

 

 

 

Monroe Series 34

[Pearls (04:16 05:17 05:18 05:19)]

見珍珠(04:16 05:17 05:18 05:19)

2013 / 80x100cmx4pcs / oil on canvas

 

Monroe Series 34 [Pearls (04:16 05:17 05:18 05:19)]

 

The camera zooms out from [04:16] to [05:19], showing Monroe’s curvy body and then her face. [04:16] and [05:17] are the only two pieces based on the screenshots of the leaked film, while the other pieces on the artist’s creative imagination. In [05:18], Monroe’s tears connect with one another, forming a gorgeous pearl necklace. The pearls made from tears eventually converge into a mirror in [05:19]. 

 

 

 

 

Monroe Series 35

[The End (05:20 06:21 06:22 06:23 06:24)]

落幕(05:20 06:21 06:22 06:23 06:24)

2013 / 80x100cmx5pcs / oil on canvas

 

Monroe Series 35 [The End (05:20 06:21 06:22 06:23 06:24)]

 

The scenes from [05:20] to [06:24] depict Monroe lying on the ground and shedding tears that reflect her face. The mirror-like tears dissipate into small drops that gradually encircle the English term “The End.”

The mirrored facial expression implies that life is illusory. The face in the mirror is not real but fictional. Tears and pearls exemplify the conversion of meaning. We have been mired in our mundane lives in which the true mingled with the false. Everything is little more than a dream.

In [06:24], the car comes full circle to the departure point with its headlights turned on. Its composition is pretty much identical to that of [00:01], with the only difference in the direction in which the car is driven. Besides, the pearl-like images encircling the number "0630" in [00:01] echo the pattern in [06:24]. Moreover, the authenticity of these pearls have become debatable.

No sooner do we witness the real and the virtual as well as Monroe’s pulchritude and sorrow, than the story ends and the truth is revealed.

 

 

 

 

Monroe Series 36

[Marilyn Monroe’s Pursuit]

夢露的追逐

2013 / 100x80cm / oil on canvas

 

Monroe Series 36 [Marilyn Monroe’s Pursuit]

 

[Marilyn Monroe’s Pursuit] features an exciting chase scene in which Monroe is pursued by a giant in a gently grey and foggy wilderness. We cannot see the giant’s face because he is towering above the clouds. Feeling mild panic, Monroe in an adorable shape runs forward like a child with her mouth open. It was not until she became unable to breathe due to the relentless pursuit that she suddenly awoke and recognized that there is no giant at all and it’s nothing but a dream!

 

 

 

 

Monroe Series 37

[Marilyn Monroe Wearing a Pearl Necklace]

戴珍珠項鍊的夢露

2013 / 162x130cmx4pcs / oil on canvas

 

Monroe Series 37 [Marilyn Monroe Wearing a Pearl Necklace]

 

[Marilyn Monroe Wearing a Pearl Necklace] is a quadriptych on a background of gently imbricated shades of grey, providing an exquisitely aesthetic atmosphere. This painting shows Monroe’s whole body, and the pearl necklace looks like tears streaming from her eyes.

The black car between Monroe’s thighs is an element that keeps appearing in this set of works. The smiley in the car lends some grotesqueness to the romantic and tender atmosphere.

 

 

 

 

Monroe Series 38

[Marilyn Monroe’s Dream]

夢露的夢

2013 / 162x130cm / oil on canvas

 

Monroe Series 38 [Marilyn Monroe’s Dream]

 

[Marilyn Monroe’s Dream] depicts Monroe covering half of her pretty face with a pistol in her hand. Her seemingly stiff body is submerged in the water, and the car is bobbing up and down in the distance. The scene suggests that Monroe is heading to somewhere after abandoning the car. There is a world of difference between the linear expression of the rippling water and the soft depiction of Monroe’s face, which highlights the necessity and attribute of lines that render the whole scene as dreamy as craggy.

 

 

 

 

Monroe Series 39

[Marilyn Monroe]

夢露

2013 / 162x130cm / oil on canvas

 

Monroe Series 39 [Marilyn Monroe]

 

To create [Marilyn Monroe], Tan returned to the theme by featuring Monroe’s enchanting face. Her slightly squinting and relaxed eyes implicitly express her sorrows. Tan painted this work on a large-format canvas, thereby bringing the viewers a sense of oppression. Such a power to intimidate is nowhere clearer than in Monroe’s gaze at us. Her slightly opened lips suggest that she has something to tell. The viewers cannot help but look into their innermost selves at the moment when admiring this work.

 

 

 

 

07
Exhibitions 展場紀錄
08
About Artist 藝術家經歷
Tan Kai-I
Tan Kai-I
彈甲一

2010
Ph.D., Faculty of Fine Arts, Universidad de Sevilla, Seville, Spain

1998
M.A., Fine Arts, Tunghai University, Taichung, Taiwan

1988
B.A., Fine Arts, National Taiwan Normal University, Taipei, Taiwan

1966
Born in Chiayi, Taiwan
SOLO EXHIBITIONS
2017
La La Land II, Main Trend Gallery, Taipei, Taiwan
La La Land, Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan
2013
Monroe in 6min30sec, Main Trend Gallery, Taipei, Taiwan
2012
Strip off, Marilyn Monroe, Main Trend Gallery, Taipei, Taiwan
2010
Tan Kai-I Solo Exhibition, Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan
2009
Memories of Mickey, Jin-Zhi Gallery, Miaoli, Taiwan
2007
Tan Kai-I Solo Exhibition, Tunghai University Art Gallery, Taichung, Taiwan
2003
Tan Kai-I Solo Exhibition, Carmona Cityhall Gallery, Carmona, Spain
2002
Tan Kai-I Solo Exhibition, Sevilla Cityhall Gallery, Sevilla, Spain
2000
Tan Kai-I Solo Exhibition, Taichung City Seaport Art Center, Taichung, Taiwan
1999
Tan Kai-I Solo Exhibition, Providence University Art Center, Taichung, Taiwan
Tan Kai-I Solo Exhibition, National Tsing Hua University Arts Center, Hsinchu, Taiwan
1998
Tan Kai-I Solo Exhibition, Tunghai University Art Gallery, Taichung, Taiwan
1996
Tan Kai-I Solo Exhibition, Tsai-Shih Art Center, Chiayi, Taiwan
GROUP EXHIBITIONS & ART FAIR
2016
20 X 20, Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan
2015
Inside Out, Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan
Taiwan Contemporary Print Works Exhibition, Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan
2014
Paintings in Chiayi, Chiayi Municipal Museum of Fine Arts, Chiayi, Taiwan
2012
Art Taipei 2012, Taipei World Trade Center (Main Trend Gallery), Taipei, Taiwan
09
List of Works 作品明細
01
36 2010|Tan Kai-I
73x60cm
Oil on canvas
36 2010|Tan Kai-I
02
Marilyn Monroe Going Camping 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe Going Camping 2011|Tan Kai-I
03
Marilyn Monroe in New York 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
Marilyn Monroe in New York 2011|Tan Kai-I
04
Marilyn Monroe in the Tree 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe in the Tree 2011|Tan Kai-I
05
Marilyn Monroe Waiting for Her Car to Be Fixed 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe Waiting for Her Car to Be Fixed 2011|Tan Kai-I
06
Marilyn Monroe on the Battlefield Having Afternoon Tea 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe on the Battlefield Having Afternoon Tea 2011|Tan Kai-I
07
Marilyn Monroe Smoking in The Car 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe Smoking in The Car 2011|Tan Kai-I
08
Marilyn Monroe and Her Husband Waiting for a Bus 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
Marilyn Monroe and Her Husband Waiting for a Bus 2011|Tan Kai-I
09
Saint Marilyn Monroe 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Saint Marilyn Monroe 2011|Tan Kai-I
10
Giant Marilyn Monroe 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Giant Marilyn Monroe 2011|Tan Kai-I
11
Marilyn Monroe Joined the Spanish Civil War in 1936 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe Joined the Spanish Civil War in 1936 2011|Tan Kai-I
12
Marilyn Monroe Being Pinched 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe Being Pinched 2011|Tan Kai-I
13
Marilyn Monroe Evades the Enemy by Hiding under a Magic Leaf 2011|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe Evades the Enemy by Hiding under a Magic Leaf 2011|Tan Kai-I
14
Marilyn Monroe Comes Out of Hibernation 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe Comes Out of Hibernation 2011|Tan Kai-I
15
Marilyn Monroe Hides in the Refrigerator to Sleep 2011|Tan Kai-I
130x162cm
Oil on canvas
Marilyn Monroe Hides in the Refrigerator to Sleep 2011|Tan Kai-I
16
Candy Streams from Marilyn Monroe’s Eyes 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Candy Streams from Marilyn Monroe’s Eyes 2011|Tan Kai-I
17
Marilyn Monroe Pulling a Bobcat Tail 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe Pulling a Bobcat Tail 2011|Tan Kai-I
18
Marilyn Monroe Greeting from the Window 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe Greeting from the Window 2011|Tan Kai-I
19
Marilyn Monroe Smoking while Asleep 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe Smoking while Asleep 2011|Tan Kai-I
20
Marilyn Monroe Walking Home 2011|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe Walking Home 2011|Tan Kai-I
21
SEXBOMB 2011|Tan Kai-I
162x130cmx3pcs (#300)
Oil on canvas
more
SEXBOMB 2011|Tan Kai-I
22
Monroe is Waiting for Someone 2012|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Monroe is Waiting for Someone 2012|Tan Kai-I
23
Marilyn Monroe in the Jelly 2012|Tan Kai-I
162x130cm
Oil on canvas
Marilyn Monroe in the Jelly 2012|Tan Kai-I
24
Marilyn Monroe with the Jelly 2012|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe with the Jelly 2012|Tan Kai-I
25
Happy Fuck to You 2012|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Happy Fuck to You 2012|Tan Kai-I
26
Hi! John F. Kennedy 2012|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Hi! John F. Kennedy 2012|Tan Kai-I
27
Marilyn Monroe & Tank 2011-2012|Tan Kai-I
130x162cm (#100)
Oil on canvas
more
Marilyn Monroe & Tank 2011-2012|Tan Kai-I
28
Happy Birthday to you 2013|Tan Kai-I
100x80cm (#40)
Oil on canvas
more
Happy Birthday to you 2013|Tan Kai-I
29
Marilyn Monroe Goes to New York 2013|Tan Kai-I
80x100cm (#40)
Oil on canvas
more
Marilyn Monroe Goes to New York 2013|Tan Kai-I
30
The Beginning (00:01) 2013|Tan Kai-I
80x100cm (#40)
Oil on canvas
more
The Beginning (00:01) 2013|Tan Kai-I
31
Departure (00:02 00:03 01:04) 2013|Tan Kai-I
80x100cmx3pcs (#120)
Oil on canvas
more
Departure (00:02 00:03 01:04) 2013|Tan Kai-I
32
Stripping off (01:05 02:06 02:07 03:08) 2013|Tan Kai-I
80x100cmx4pcs (#160)
Oil on canvas
more
Stripping off (01:05 02:06 02:07 03:08) 2013|Tan Kai-I
33
Composed (03:09 03:10 03:11 04:12 04:13 04:14 04:15) 2013|Tan Kai-I
80x100cmx7pcs (#280)
Oil on canvas
more
Composed (03:09 03:10 03:11 04:12 04:13 04:14 04:15) 2013|Tan Kai-I
34
Pearls (04:16 05:17 05:18 05:19) 2013|Tan Kai-I
80x100cmx4pcs (#160)
Oil on canvas
more
Pearls (04:16 05:17 05:18 05:19) 2013|Tan Kai-I
35
The End (05:20 06:21 06:22 06:23 06:24) 2013|Tan Kai-I
80x100cmx5pcs (#200)
Oil on canvas
more
The End (05:20 06:21 06:22 06:23 06:24) 2013|Tan Kai-I
36
Marilyn Monroe’s Pursuit 2013|Tan Kai-I
100x80cm (#40)
Oil on canvas
more
Marilyn Monroe’s Pursuit 2013|Tan Kai-I
37
Marilyn Monroe Wearing a Pearl Necklace 2013|Tan Kai-I
162x130cmx4pcs (#400)
Oil on canvas
more
Marilyn Monroe Wearing a Pearl Necklace 2013|Tan Kai-I
38
Marilyn Monroe’s Dream 2013|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe’s Dream 2013|Tan Kai-I
39
Marilyn Monroe 2013|Tan Kai-I
162x130cm (#100)
Oil on canvas
more
Marilyn Monroe 2013|Tan Kai-I

00Monroe Series