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Ryan Travis Christian — I Think You Are Going to Really Like the Mayor
Ryan Travis Christian

I Think You Are Going to Really Like the Mayor

2018

Ryan Travis Christian's 2018 graphite drawing "I Think You Are Going to Really Like the Mayor" delivers the wry, cinematic tension that defines his practice, condensing narrative unease into a deceptively modest format. At just 17.8 by 25.4 centimeters, the work operates at an intimate scale that pulls the viewer close, rewarding careful attention with the kind of loaded, ambiguous storytelling Christian has made his signature. The title itself functions as both caption and conspiracy, carrying the cadence of a backroom introduction, a whispered assurance that implies power dynamics without spelling them out. Christian works squarely within a tradition of American vernacular drawing, borrowing visual shorthand from mid-century comic strips, pulp fiction illustration, and roadside Americana, while steering the content into darker, more psychologically charged territory. His graphite line is confident and economical, achieving tonal depth and expressive weight without ever tipping into heavy-handedness. The result is an image that feels simultaneously familiar and subtly off-kilter, the kind of scene that lingers in the mind the way a half-remembered dream does. Signed by the artist, this work on paper represents an accessible point of entry into a body of work that has attracted serious critical and collector attention. Christian's drawings reward display in intimate settings where their scale encourages close looking and their deadpan humor can unfold gradually. Offered through Richard Heller Gallery, a long-standing champion of the artist's work, this is a refined example of Christian at his most characteristically sharp.

Medium
Graphite on paper
Overall
Signed
Yes

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About this work

Ryan Travis Christian, I Think You Are Going to Really Like the Mayor, 2018

Ryan Travis Christian's 2018 graphite drawing "I Think You Are Going to Really Like the Mayor" delivers the wry, cinematic tension that defines his practice, condensing narrative unease into a deceptively modest format. At just 17.8 by 25.4 centimeters, the work operates at an intimate scale that pulls the viewer close, rewarding careful attention with the kind of loaded, ambiguous storytelling Christian has made his signature. The title itself functions as both caption and conspiracy, carrying the cadence of a backroom introduction, a whispered assurance that implies power dynamics without spelling them out. Christian works squarely within a tradition of American vernacular drawing, borrowing visual shorthand from mid-century comic strips, pulp fiction illustration, and roadside Americana, while steering the content into darker, more psychologically charged territory. His graphite line is confident and economical, achieving tonal depth and expressive weight without ever tipping into heavy-handedness. The result is an image that feels simultaneously familiar and subtly off-kilter, the kind of scene that lingers in the mind the way a half-remembered dream does. Signed by the artist, this work on paper represents an accessible point of entry into a body of work that has attracted serious critical and collector attention. Christian's drawings reward display in intimate settings where their scale encourages close looking and their deadpan humor can unfold gradually. Offered through Richard Heller Gallery, a long-standing champion of the artist's work, this is a refined example of Christian at his most characteristically sharp.

Medium
Graphite on paper
Dimensions
overall: 17.8 x 25.4 cm
Year
2018
Signed
Hand-signed by the artist
Seen at
Richard Heller Gallery

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Collected by

Gavin Kennedy