Ghost in the Shell, cut no. 240, poster
Artist: Shuichi Kusamori
Edition: 500 copies
Print type: lithograph (offset print)
Paper: Magno Volume 200 g/m²
Format: 70 × 50 cm
The poster is available in two options.
Choose between the plain poster shipped in a tube, or the poster mounted on a 3mm aluminum composite sheet including our custom made picture hook, delivered flat and ready to hang on your wall.
Posters ship within one week. Posters mounted on a panel are custom made and take 2 to 3 weeks to deliver.
Artist: Shuichi Kusamori
Edition: 500 copies
Print type: lithograph (offset print)
Paper: Magno Volume 200 g/m²
Format: 70 × 50 cm
The poster is available in two options.
Choose between the plain poster shipped in a tube, or the poster mounted on a 3mm aluminum composite sheet including our custom made picture hook, delivered flat and ready to hang on your wall.
Posters ship within one week. Posters mounted on a panel are custom made and take 2 to 3 weeks to deliver.
Artist: Shuichi Kusamori
Edition: 500 copies
Print type: lithograph (offset print)
Paper: Magno Volume 200 g/m²
Format: 70 × 50 cm
The poster is available in two options.
Choose between the plain poster shipped in a tube, or the poster mounted on a 3mm aluminum composite sheet including our custom made picture hook, delivered flat and ready to hang on your wall.
Posters ship within one week. Posters mounted on a panel are custom made and take 2 to 3 weeks to deliver.
The last three images show the poster mounted on a panel. See our blog post for more information on this product option. We also created a guide on how to set up our custom made picture hooks.
This artwork presents the end of the back alley depicted in cut no. 228 which the villain just left. It seems as if the old town is buried under billboards, a texture that covers all walls. The villain, chased by Major Kusanagi finally found his way out of the narrow back alleys of the old town of Ghost in the Shell’s Newport City.
In an interview with Stefan Riekeles in January 2023 Shuichi Kusamori commented on this work: “I remember discussing this alleyway with Ogura, and him telling me that he wanted a sense of “light at the end of the tunnel”. Though the colorful signboards may distract the eye for a moment, the overall tone should be soothing, of the possibility of freedom from confinement. We discussed how to evoke a sense of tranquility. I added plants and flowers to show a connection to the gentle sunlight.”
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