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RETRO POP TV - Oil Painting On Canvas By Leonid Afremov

pop tv, retro electronics, thick outline, dotted static, ben day shading, graphic retro device, flat color fill, classic pop tech, nostalgic pop device, vibrant outline art

The official online virtual gallery of Leonid Afremov

Here you can purchase oil on canvas paintings directly

  • Size: 50"x40" (127cm x 100cm)
  • Signature: Signed on the front and back
  • Certification: Signed COA provided
  • Materials: Palette Knife, Oil Paint, Canvas
Today price: $399.00 Regular price: $798.00
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A UNIQUE ONE-OF-A-KIND ORIGINAL OIL PAINTING ON CANVAS - THE BEST POSSIBLE QUALITY HAND-PAINTED ARTWORK BY LEONID AFREMOV GALLERY ARTIST

This is a real 100% UNIQUE Hand-painted ONE-OF-A-KIND ORIGINAL painting by Afremov Gallery (not a print, or recreation artwork)

The painting is signed on the front and the back, this artwork comes with a certificate of authenticity

Hand Painted by Artist Hand Painted by Artist
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A familiar broadcast relic becomes Retro Pop Tv, a vivid meditation on how memory arrives in fragments rather than complete scenes. Its front-facing presence feels both inviting and insistent, as though an old receiver has been switched on to a signal made from recollection, interruption, and exuberant noise. The work holds nostalgia at a lively distance, refusing to let the past settle into sentimentality.

The screen’s sweeping field of dots suggests movement without delivering a definite programme or message. Instead, it leaves room for the viewer to associate its shifting bands with half-remembered evenings, changing channels, or the restless anticipation that once preceded a picture appearing. The television becomes less a container of images than a threshold between private memory and public spectacle.

On the right, the speaker grille and paired controls give the set a touch of ceremony, recalling a time when viewing involved deliberate adjustment rather than effortless access. That detail lends the composition an appealing tension: the object is unmistakably obsolete, yet its concentrated presence feels energetic and immediate.

Even the slender antenna seems to reach beyond the frame, turning the receiver toward an unseen current. Around it, the lively marks resist order and certainty, making the work feel less like a portrait of a machine than a celebration of visual excess and mediated experience. What remains is the charged interval between signal and meaning, where recollection keeps changing shape.

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