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Red Tub Sirens
Red Tub Sirens
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Shipping & Delivery
Shipping & Delivery
All orders are packed and shipped from our studio in Oslo.
Norway: 200 NOK — 3–7 business days
Europe: 500 NOK — 5–10 business days
Rest of the world: 750 NOK — 10–20 business days
Delivery times may vary during holidays or periods of high demand.
Edition of 20 copies – signed and numbered by the artist.
A red, tiled bathtub frames a scene of modern hedonism. Two friends have settled into the tub, surrounded by champagne, white wine, and an overflowing table of oysters and shellfish. This intimate everyday architecture is transformed into a kind of tableau – a small theater of self-indulgence.
The composition points back to the art-historical tradition of the reclining woman, from the bathing figures of the Renaissance and Baroque to later odalisque motifs. At the same time, the image clearly borrows from the contemporary visual language – cinematic scenography, the staged luxury of fashion and advertising photography, and pop art’s interest in desire, consumption, and surface.
The strong red tile pattern functions almost like a modernist mosaic, lending the scene a decorative intensity that contrasts with the pale bodies. The result is a consciously theatrical situation: eroticism, friendship, and abundance presented as a visual ritual.
- Archival pigment print
- Produced with lightfast ink on high-quality, acid-free art paper
- Delivered ready for framing
- Edition: 20 copies
Available in four sizes: 70×44 cm | 100×62 cm | 120×75 cm | 140×87 cm (statement size)
Ships within 1–2 weeks.
Shipping in Norway: 200 NOK.
More about this artwork
More about this artwork
A red, tiled bathtub provides the setting for a scene of modern hedonism.
Two female friends have settled into the bathtub surrounded by champagne, white wine, and an extravagant spread of oysters and shellfish. The intimate, everyday architecture is transformed into a tableau—a small theater for the enjoyment of life.
The composition harks back to art history's tradition of the reclining woman, from the bathing figures of the Renaissance and Baroque to later odalisque motifs. At the same time, the image clearly borrows from contemporary visual language—film scenography, the staged luxury of fashion and advertising photography, and Pop Art's interest in desire, consumption, and surface.
The striking red tile pattern functions almost as a modernist mosaic and lends the scene a decorative intensity that contrasts with the pale bodies. The result is a deliberately theatrical situation: eroticism, friendship, and abundance presented as a visual ritual.
The image can thus be interpreted both as an updated version of the classic bathing woman—and as a slightly ironic reflection on our era's aesthetics of luxury and pleasure.
