Jeff Koons is an American painter, illustrator and sculptor who derives inspiration for his work through children’s toys, cartoon characters, porcelain figures, and party decorations. He uses bright and somewhat tacky and garish colours for a lot of his work as well as sculpting very easily accessible, everyday items on a gigantic scale with seemingly not a lot of meaning and thought behind. Because of this his art looks cheap due to their basic shapes and plastic looking materials that he uses, but despite this are very expensive to make which goes against the public’s perception on what art should be. He also plays on the notions of a heavy object with a light appearance. Through this though he establishes a conversation on how we view material objects that we own and the concept of consumerism of goods as a whole. Koon’s style is made up of many different features, including kitsch, pop art and ready-mades with his biggest sources of inspiration being Salvador Dalí and Andy Warhol.
Jeff Koons characteristically worked in series and a lot of his pieces here were a part of that. His big collection of inflatable pool toys and balloon animals were highly popular and commercially successful – fetching some of the highest prices at auction out of all his work. Some critics consider this artwork of bad taste and too commercial whereas as Koons sculpts them as important iconography that’s designed to bring back simpler times of childhood and celebrate it. He covers these stainless-steel sculptures in bright blue, magenta, orange, red and yellow coating and says he is not afraid of how this might make his artwork look more simplistic. His artwork is also inspired a lot by the idea of reflection and how fascinated he is by how it can reflect off surfaces.
Another one of his most infamous works are the bouquet of tulips that served as a memorial for Paris in wake of the series terrorist attacks which featured a Statue-of-Liberty esque hand holding a bouquet of Koon’s signature balloon tulips. However, despite his intentions of the artwork as a gift to Paris the members of the French cultural establishment called it a “cynical” act of “product placement” due to the cost of which it took to be built, the location and how appropriate its overly shiny aesthetic was. Part of the French public also believed he had done the gesture as a means of personal gain rather than being a true gift which adds to the discussion of whether his art is truly meaningful or nothing more than a some brightly coloured sculptures.