Gauntlet Gallery
What is Shepard Fairey’s piece called “Obey Lotus Crescent (Diamond Dust - Black & Gold)”?
Artist Statement
This new series of prints are Shepard Fairey’s first use of diamond dust printing. The series is comprised of 4 stunning prints of floral ornament abstraction utilizing white and black diamond dust. The new medium, diamond dust, adhered to the surface of the screen prints is a shimmering and elegant material. Perhaps most famously used by Andy Warhol, who understood perfectly how to convey a message, Diamond Dust was used to add glamour, transforming ordinary images into coveted objects . The material aligns with Shepard’s work and interest in the seduction of advertising and consumerism. Diamond Dust, literally and metaphorically is superficial, applied to the surface of the print, the luminous effect is both beautiful and alluring. 24x36" Edition of 75 $1500 or set of 4 for $5250
Summary
Obey Lotus Crescent (Diamond Dust - Black & Gold) is a 2013 screen print by Shepard Fairey, published by Paul Stolper Gallery in an edition of 75 at 24 x 36 inches. It belongs to a four-print series of floral ornament abstractions and marks Fairey's first use of diamond dust, a shimmering material adhered to the print surface. The Black & Gold colorway pairs Fairey's signature OBEY-rooted ornamentation with a glamorous, reflective finish. The composition uses a crescent-shaped lotus motif rendered as decorative abstraction, foregrounding surface seduction and luxury rather than overt political messaging.
Why It Matters
This print is notable as part of Shepard Fairey's first venture into diamond dust printing, a medium most famously associated with Andy Warhol's use of glamour to transform ordinary images into coveted objects. According to the source, the material deliberately aligns with Fairey's longstanding interest in the seduction of advertising and consumerism, making the print both decorative and self-aware: the luminous surface is described as literally and metaphorically superficial. For collectors, that conceptual layer distinguishes the work from purely ornamental floral prints. Published by Paul Stolper Gallery in a small edition of 75, the Black & Gold colorway is one of two finishes in the series, the other being White & Gold. The crescent lotus motif extends Fairey's recurring engagement with floral and mandala-style ornamentation while pushing it toward fine-art materiality. The combination of a limited edition, a London gallery publisher, an experimental material, and a clear conceptual tie to consumer-culture critique gives this work a stronger position than a standard open or large-edition Obey release, appealing to buyers who value technique and theme together.
Collector Perspective
This print suits collectors drawn to Fairey's decorative and ornamental side rather than his overtly political posters, as well as those who appreciate experimental print materials. The diamond dust finish in Black & Gold reads as elegant and luxurious, making it a strong fit for a refined interior where shimmer and reflectivity matter. Buyers assembling a thematic group can pair it with the companion Lotus Diamond print or pursue the full set of four, which the source notes was offered together. At a small edition of 75 and a 24 x 36 inch format, it works as a statement piece. It appeals to collectors who value technical firsts in an artist's catalog and who want a work that bridges Fairey's graphic identity with fine-art print experimentation.
Historical Context
This work sits in the early-2010s phase of Fairey's career when he expanded beyond his core poster and propaganda output into more materially experimental and gallery-oriented editions. The source identifies it as his first use of diamond dust, placing it at a specific technical milestone. Published by Paul Stolper Gallery, a London dealer who handled several of Fairey's fine-art print projects, the series reflects his ongoing dialogue with consumer culture and the seductive surfaces of advertising. The lotus and ornamental motifs connect to his broader interest in decorative pattern and mandala forms seen across his catalog. Rather than addressing a single political event, this print foregrounds medium and concept, showing Fairey working in a mode closer to the Warhol-influenced fine-art tradition while retaining the OBEY conceptual underpinning around glamour and consumerism.
FAQ
What is special about the diamond dust used in this print?
According to the source, this series marks Shepard Fairey's first use of diamond dust printing. The shimmering material is adhered to the surface of the screen print to add glamour, a technique famously associated with Andy Warhol. The source notes it aligns with Fairey's interest in the seduction of advertising and consumerism.
How large is the edition?
The print was published by Paul Stolper Gallery in a numbered edition of 75, measuring 24 x 36 inches as a screen print. It is one of two colorways in the series, the other being Diamond Dust - White & Gold.
Is this part of a set?
Yes. The source describes a series of four prints of floral ornament abstraction. The individual price was listed at $1500, with a set of four offered at $5250.
What is the subject of the print?
It depicts a crescent-shaped lotus floral ornament rendered as decorative abstraction. Rather than overt political messaging, the work foregrounds surface, shimmer, and the seductive glamour the diamond dust material provides.
Related Works
About the Artist
Shepard Fairey (b. 1970, Charleston, South Carolina) is an American street artist, graphic designer, and activist, and a graduate of the Rhode Island School of Design. His 1989 “André the Giant Has a Posse” sticker grew into the global OBEY GIANT campaign — an ongoing experiment in propaganda, obedience, and visual culture. He reached worldwide recognition with the 2008 “Hope” portrait of Barack Obama, now held by the Smithsonian National Portrait Gallery. Across screen prints, stencils, murals, and collage, Fairey channels propaganda aesthetics toward themes of peace, justice, environmentalism, and civil rights. His work is in the collections of the Museum of Modern Art, the Victoria & Albert Museum, and LACMA.