FAKE VIEWS

Ryan Thomas Monahan, Dylan Martinez, Joe Suzuki and Mitchell Spain
November 10th – December 13th 2018
Main Gallery

Our final exhibit of the year “Fake Views” features four artists working with very different materials towards a mutual goal of using sculptures to deceive the viewer. We have entered into an era of “fake” news and “deep fake” videos among other “deceptive” forms of media being used to intentionally confuse and persuade viewers. In art terms the concept of purposefully deceiving the viewer goes back to Greek and Roman periods and in a twist of irony, the French phrase “Trompe l’oeil” for “Deceive the eye” is used to describe the concept/technique. In a nod to the absurdity of it all we are presenting works that provide a momentary spell of bemusement and nostalgia without all the idiocy 😉

If you follow Ryan Thomas Monahan on Instagram (@what_thehell) you quickly realize he spends the majority of his day messing with your head as he unveils snippets of his creative process. He tells you what he plans to make but he rarely reveals his sources on how or out of what. It may be a very small object or it may be something larger than life but each and every time it’s entirely fake. When viewed on a phone you can’t tell if it is fake though, that is until you see a finger poking through a window or a hand holding a match stick like a baseball bat. His attention to detail has no bounds, all possible aspects of every piece are fully considered. For this exhibit Ryan created a series of “gate” works that hang on the wall without glass allowing you to get very close to examine all the graffiti, rust and grimey details. Speaking of grimey, a stand alone work titled “Lincoln Hall” captures all of the nastiest details of a broken down concert venue bathroom inside of a space the size of a shoebox – including a battery powered overhead light for ambiance. We have been working with Ryan for several years and it has been exciting to see him grow as an artist:

“This show is exciting for me, I really wanted to unveil this new body of work in a gallery setting as it was born from the idea of a gallery viewing. Presenting the artwork in a more fine art presentation without glass really helps the artwork standout when on display. Aside from doing new fragment style artwork framed without glass I dived into more play with scale. I chose the matchbook to enlarge because they have so much character, The cover art, the wear and tear all of it gives the matchbooks a narrative. I am excited to explore both of these new bodies of work in 2019.”

Joe Suzuki creates a wide range of art inspired by pop culture and art history. This exhibit includes a series of sculptures created out of canvas and three sculptures from his very popular “Happy Accident” series. Much like paper, canvas can be folded and glued to very closely replicate the appearance of paper objects. Joe has perfected this process in the form of popular “paper” bags, cups and origami featuring luxury brand logos.

“I consider my work to be artifacts of my own particular culture, which is not the generalized Japanese American culture, but that which formed as a direct result of being a first generation immigrant. Through a long assimilation process, I found myself not fully belonging to either culture, but rather somewhere in between, which I began to call Japamerica.” – Joe Suzuki

Joe’s most popular body of work is his “Happy Accident” series which features paint being paused in time while being poured onto sculptures. in particular, popular sculptural works by Jeff Koons – This exhibit features 3 “accidental” spills over metallic “balloon” animals including two versions of dogs and a golden bunny.

Dylan Martinez works primarily with glass. For this exhibit we have a handful of his beautiful and gravity defying “H20Si02” (Water & Quartz) water bag sculptures and three pieces from his “Corrective Lens” series of vintage binoculars that have been retrofitted with altered lenses to transform the viewing experience. In both series of works Dylan captures and recreates the nostalgia and wonderment of everyday objects using glass blowing techniques going back thousands of years.

“What I enjoy most about “tricking” the viewer is the moment they start to doubt their initial belief that the object is what they thought. Often a playful smirk will arise as they begin to really investigate the artwork differently. The “Corrective Lens” series plays with the idea that much of our perception comes from our past, both the forward leaps from generations past and the learned falsehoods that restrict us. Reconciliation of the past affects how we look to the future.” – Dylan Martinez

Mitchell Spain works with clay to create beautiful functional and non-functional sculptures. For this exhibit he sent two insanely realistic looking “shot up” rusted cans made entirely with ceramic and glaze. He also creates ceramic flasks that appear to be heavily “rusted” and inoperable. In reality, these pieces are fully functional and ready to be filled with your favorite liquor! Additionally he sent a handful of mugs featuring vintage beer labels with can opener handles and a trio of oil filter mugs with wrench handles that look and feel VERY real – All ready to be used daily as part of your functional art collection.

Ryan Thomas Monahan
Hey Everyone! I’m Ryan, I’m an artist living and working in the Chicago suburbs.
You name it, I enjoy working on it.
I collect toys, mostly these days stuff from the 80’s and 90’s.
I enjoy Graphic Design and Branding projects from time to time.
I enjoy sketching.
Click here for more…

Dylan Martinez
Best known for his realistic water bag sculptures that challenge the viewer’s perception. Dylan Martinez’s artwork explores the playful and intriguing properties of glass. Dylan began blowing glass in 2007, while earning his BS in Broad Field Science from the University of Wisconsin-River Falls. He received his Master of Fine Arts, in Glass, at Ball State University in 2017. He is now running his own studio in White Salmon, WA in the scenic Columbia River Gorge where he continues to explore and push the boundaries of glass. His artwork has earned several awards of recognition and has been exhibited and collected both nationally and internationally.

Joe Suzuki
I consider my work to be artifacts of my own particular culture, which is not the generalized Japanese American culture, but that which formed as a direct result of being a first generation immigrant. Through a long assimilation process, I found myself not fully belonging to either culture, but rather somewhere in between, which I began to call Japamerica.

In my peculiar culture, customs and traditions are born out of misunderstandings or idiosyncrasies, and myths and legends are often formed through the struggles of everyday life. I am fascinated by and curious about my culture’s development and the affect it has on my identity. I see my art making as an investigation that captures and documents my ever changing, mutating, polyglot reality. My work is informed by my life, contingent on my ordinary, real world experiences as a middle class Japamerican dad, who is simply trying to make sense of it all.

Mitchell Spain
Clay resurrects the past.
It revives old memories and awakens my lineage of artistic relatives. My bond to this medium is rooted in my deep connection to the rural Iowa farmland on which I was raised. Within my art, I’m taken back to my earliest memories of hunting through 100 years of farm equipment, rusty car parts, and unidentified objects in the barns and buildings my family built their lives around. These remnants of a bygone era were preserved with the intention of reuse as a means to save money, a widespread practice in rural America following the Great Depression. The ingenuity needed to economically refurbish old equipment and tools was born out of necessity and passed down through the generations of my family.

My father, my first artistic influence, took these discarded relics of rural America and breathed new life into them as art. The idea of being able to reinvent a purpose for an object, and the challenge of the process, resonates with me and is a foundation of my work as an artist.

I create sculptures and functional porcelain vessels with a facade of rust and decaled imagery. These refined and technically compelling pieces appear to be selected directly from an old barn and their vintage inspired labels and ultra-realistic rust paint a vivid picture of time, emotions and memories conserved.

Fascinated by the preservation of our past, Mitchell Spain is a ceramic artist using highly technical processes to craft porcelain vessels. He draws inspiration from the Iowa family farmland on which he was raised, where he now raises his young son alongside his wife. He has exhibited nationally and internationally.

This show is exciting for me, I really wanted to unveil this new body of work in a gallery setting as it was born from the idea of a gallery viewing. Presenting the artwork in a more fine art presentation without glass really helps the artwork standout when on display. Aside from doing new fragment style artwork framed without glass I dived into more play with scale. I chose the matchbook to enlarge because they have so much character, The cover art, the wear and tear all of it gives the matchbooks a narrative. I am excited to explore both of these new bodies of work in 2019.

This show focuses on “tricking” the viewer, tells us what about that aspect you enjoy, hate, etc
I love working for that goal, having a viewer question what a item or area is made from. I use so many various materials you would often be surprised what some stuff is made out of.

Tell us a bit about your career, school, city, ideas, etc
I use to be a full time Graphic Designer, that’s the schooling I have.
These days I work on my fine art full time from my home studio. I really try to incorporate my design background with my fine art, that explains a lot of the signage and graphics. I enjoy creating those based on ads and signs I’ve seen in reality.

What types of materials do you use? 
That’s a deep question in my world. I use everything..EVERYTHING. I like to collect and organize materials I find and salvage. Wheather its foam from a dumpster in a alley, or a plastic piece I found on the side of the road. In Lincoln Hall (the shit hole bathroom) part of the sink plumbing was pulled from my son’s hospital bracelet. I was in the midst of creating that piece when he was born. I sometimes have materials for years before it is used. My main construction material is MDF, Wood, Styrene and other common model making materials.

How many hours do your pieces generally take to complete/info about your process, etc
It depends on the piece, size and over all complexity really. They can get pretty extensive. The piece titled ‘Show World’ was a labor of love. To create the bulbs, I individually sanded each pearl pin to a dull finish to create the right bulb appearance. Details such as that add many hours to the process. Some highly involved pieces like Lincoln Hall can take up to 300 hours to create.

What is more important – Content, reaction or technique?
I like how we have added “reaction” to this… that may be what is most
important to me. Getting the viewer to really get into the work and start seeing all the small details that I added. They are all pretty intertwined in my process…I think a close second is technique, practice makes you suck less.

What is currently influencing you that might surprise people?
Oh shit this is always so hard, I couldn’t even tell ya… I’ve always had a hard time determining where my influences come from. I’m just always running on full steam and I cant even slow down to notice where its coming from – ha.

What are some of the responses you hear in regards to your work?
I typically hear good things! I think folks are really drawn to the
authenticity of the work. I strive to add details that make you just look at it and think it feels right..even if it’s something odd. With this new body of work I’m excited for people to see everything out from behind glass. Getting as close as you can to the work to see the details.

Describe your work environment – Music, TV, Movies, things you
drink/smoke, time of day etc

Well I have two types of days now that I became a parent. When its just me in the studio… loud music, loud movies, smoking pot and drinking coffee all the live long day… these days I start work at 4am and work steady until 4pm this gives me some extra time to help my wife with our son and what not.

I take great pride in my studio, its basically a huge version of my childhood bedroom, toys and posters and art. It is a pretty creative spot.

If you could choose only one, would you rather be thought of as a great
artist or a nice person?

A great artist…..being nice is so last year.

This show focuses on “tricking” the viewer, tells us what about that aspect you enjoy, hate, etc
What I enjoy most about “tricking” the viewer is the moment they start to doubt their initial belief that the object is what they thought. Often a playful smirk will arise as they begin to really investigate the artwork differently.

Tell us a bit about your career, school, city, ideas, etc
I first began playing with molten glass at UW-River falls while completing a degree in the physical sciences. I became obsessed and moved around the country as well as New Zealand to learn from some of the best in my field. I eventually went to get my Masters of Fine Arts at Ball State University in 2017. During that time my craft began to expand more conceptually. I have become very interested in both how perception shapes our reality and celebrating the unique properties of glass. Ultimately, I try to challenge my audience to have an authentic experience within themselves where they must question their faculties if only momentarily.

What types of materials do you use?
I often use glass as my main media, but I will follow any idea wherever it needs to go regardless of material.

Can you tell us how do you create the “Water” bags?
I can’t disclose the specifics of how I make the sculptures, but I can provide an overview of my process.
When blowing glass, I gather molten glass out of a furnace at the end of a five-foot-long iron rod. The moment the glass is removed from the fire (2200°F) it begins cooling (it begins at a consistency like honey). As it cools it hardens, thereby requiring the gaffer (glass blower) to reheat the glass in order to make the glass soft and pliable for shaping. This happens continually until the piece is finished. About every 60 seconds.

My sculptures require the assistance of another skilled glass blower. Flawless teamwork is vital to the successful completion of each piece and these certainly cannot be made alone.

I begin by gathering a small amount of glass and create the bubbles that appear as if they are rising. I gather more glass until I have enough to shape into the “water” part of the sculpture. I create every wrinkle by manipulating the surface with my knife. I then attach a blown bubble to the solid “water” portion. After that is sculpted I create the knot and tassel from a third bubble of glass and attach it. Once all the parts are assembled the bag gets removed from the iron rod and placed into a 950° oven where it will slowly cool over the course of a week. Once cool the bottom is hand ground and polished for completion. When removing the final sculpture from the iron rod, the temperature has to be perfect or else the knot and tassel will break off ruining the entire piece at the last second.

During the entire process of sculpting each water bag, there is about a 10-second window where the whole piece can be ruined by either getting it too hot and melting it beyond repair or letting it get too cold and cracking it. So, I need to heat it just to the point before losing control so that I can have the maximum amount of “work” time, typically up to 60 seconds, before the next reheat or it will break.

How long does it take you to finish a piece? What’s the most challenging aspect?
It takes me a little over a week to complete each piece. The most challenging part is to sculpt the hot glass itself. The glass temperature varies from 1500° F to 2200°F during the sculpting process, so all the manipulation is to be done with simple steel tools, like tweezers, cutting shears and a knife blade. You cannot directly touch the glass itself or else you can be severely burned. Glass making can be a very high risk and high-pressure environment. Unlike many other artistic media, you cannot stop or take any breaks once you start making a piece. It must be made as fast and economically as possible in one attempt.

What is more important – Content, reaction or technique?
All of it, if any aspect falters the effect is lost.

What is currently influencing you that might surprise people?
Eastern philosophy.

What are some of the responses you hear in regards to your work?
You should put a fish in there!!!!!

Describe your work environment – Music, TV, Movies, things you drink/smoke, time of day etc
When I’m working in the hot glass studio sculpting and blowing, I have one assistant who helps me make my work. We work during the daytime hours (usually 9-5) and listen to a chill Pandora station while we work, drinking lots of water and sometimes finishing the day with a beer. When I’m doing other tasks like grinding, polishing and gluing, I work in the basement of the studio. For this type of work I often need to be geared up in a protective apron, water proof boots and noise cancelling head phones. Because this work tends to take a lot of time and is repetitive, I usually choose to listen to podcasts.

If you could choose only one, would you rather be thought of as a great artist or a nice person?
If I had to choose only one, I would have to say I would rather be known as a nice person. While I’m very proud of my journey as an artist and would love to be known as a great artist, I also know the work it has taken to get here. I have spent a lot of time working for other glass artists as well as being a student and many of the connections I have made in that time are invaluable to me. I think being a nice person has had a significant affect on me getting to where I am as an artist, so perhaps one can lead to the other?

This show focuses on “tricking” the viewer, tells us what about that aspect you enjoy, hate, etc
It’s always nice to hear that people don’t realize my Trompe i’oeil Series pieces are not made entirely of canvas, acrylic paint, and acrylic medium. When I post pics of this series on IG, some people think I’m just posting pics of what I consumed, i.e. Starbucks, MC Donald’s, In N Out, etc.

Tell us a bit about your career, school, city, ideas, etc
Originally from Japan, I’m a visual artist based in LA. I was a part time college art professor for around 10 years but now I am a full time artist.

What types of materials do you use?
All kinds. I work in all types of media.

How many hours do your pieces generally take to complete/info about your process, etc
Generally my smaller pieces take about 1-2 weeks to make. For more intricate and larger works I’ve had pieces I’ve worked on for months.

What is more important – Content, reaction or technique?
Reaction is not really important to me. It’s more important that I make what I want to make.

What is currently influencing you that might surprise people?
My work has always been informed by me living an ordinary life as a lower middle class Japanese American dad. My life is not as nearly as exciting as my art pieces. lol.

What are some of the responses you hear in regards to your work?
People generally like my work. They like the familiarity of my work and the way I present it in a new way.

Describe your work environment – Music, TV, Movies, things you drink/smoke, time of day etc
I’m an early bird. I’m usually in my studio by 6 am. I love coffee and enjoy working alone in my studio. I know, my life is boring. lol

If you could choose only one, would you rather be thought of as a great artist or a nice person?
A great dad.


Ryan Thomas Monahan "Lincoln Hall"
Media: Paper, Wood, Metal, Resin, Plastic, Plexi, solid wood frame/museum glass/2-9volt battery powered
Size: 6 x 10 x 10 Inches
Year: 2018
Price: $3,000
Availability: Inquire
Ryan Thomas Monahan "Burnt"
Media: Board, Paper, Plaster, Foam solid wood frame/felt backing
Size: 14 x 17 Inches
Year: 2018
Price: $500
Availability: Inquire
Ryan Thomas Monahan "Kitten Club"
Media: Board, Paper, Foam, Wood, Plaster wood/felt backing
Static Sculpture - open position - wall mount or tabletop
Size: 15 x 18 Inches
Year: 2018
Price: $1000
Availability: Inquire
Ryan Thomas Monahan "Playland"
Media: Board, Paper, Foam, Wood, Plaster wood/felt backing
Static Sculpture - open position - wall mount or tabletop
Size: 15 x 37 Inches
Year: 2018
Price: $1200
Availability: SOLD
Ryan Thomas Monahan "Cash"
Media: Board, Paper, Metal, Wood, Plastic solid wood frame/felt backing
Size: 20 x 10 x 6 Inches
Year: 2018
Price: $1400
Availability: Inquire
Ryan Thomas Monahan "Rubbers"
Media: Board, Paper, Metal, Wood, Tissue solid wood frame/felt backing
Size: 14 x 17 x 4 Inches
Year: 2018
Price: $1200
Availability: SOLD
Ryan Thomas Monahan "Red Gate"
Media: Board, Paper, Metal, Wood, Tissue solid wood frame/felt backing
Size: 14 x 17 x 4 Inches
Year: 2018
Price: $1000
Availability: Inquire
Ryan Thomas Monahan "Wet Paint"
Media: Board, Paper, Wood, Metal, Resin, Plastic solid wood frame/felt backing
Size: 8 x 10 x 4 Inches
Year: 2018
Price: $800
Availability: Inquire
Ryan Thomas Monahan "Big Gate"
Media: Board, Paper, Metal, Wood solid wood frame/felt backing
Size: 24 x 18 x 6 Inches
Year: 2018
Price: $2,000
Availability: Inquire
Ryan Thomas Monahan "Show World"
Media: Board, Paper, Metal, Wood, Plexi solid wood frame/felt backing
Size: 18 x 26 x 6 Inches
Year: 2018
Price: $2,000
Availability: Inquire
Ryan Thomas Monahan "Chambers Street"
Media: Board, Paper, Wood solid wood frame/felt backing
Size: 18 x 26 x 5 Inches
Year: 2018
Price: $1,800
Availability: Inquire
Ryan Thomas Monahan "Chicago Sewer"
Media: Board, Paper, Wood, Metal, Resin solid wood frame/felt backing
Size: 18 x 26 x 5 Inches
Year: 2018
Price: $1,800
Availability: Inquire

Ryan Thomas Monahan “Wabash”
Media: Foam, chip board, birch wood, plastics, cardboard, various papers, guitar strings, acrylic and more
Size: 12 x 10 x 22 inches
Year: 2016
Price: $3300
Availability: Inquire


Dylan Martinez “Seeing Struck”
Media: Vintage binoculars with altered lenses
Size: 5 x 5 Inches
Year: 2018
Price: $450
Availability: Inquire

Dylan Martinez “Blurred Lines”
Media: Vintage binoculars with altered lenses
Size: 5 x 5 Inches
Year: 2018
Price: $450
Availability: Inquire

Dylan Martinez “Corrective Lense”
Media: Vintage binoculars with altered lenses
Size: 5 x 7 Inches
Year: 2018
Price: $495
Availability: SOLD

Dylan Martinez H20Si02 (9)
Media: Glass
Size: 14.75 x 6.5 x 4.5 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Dylan Martinez H20Si02 (10)
Media: Glass
Size: 14 x 5.5 x 3.75 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Dylan Martinez H20Si02 (11)
Media: Glass
Size: 12 x 5.75 x 4 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Dylan Martinez H20Si02 (12)
Media: Glass
Size: 14.25 x 5 x 4 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Dylan Martinez H20Si02 (13)
Media: Glass
Size: 14.75 x 5.75 x 4.75 Inches
Year: 2018
Price: $1,500
Availability: Inquire


Joe Suzuki Happy Accident Series “Balloon” Dog (Cyan)
Media: Epoxy Resin, enamel and paint can
Size: 15 x 11 x 5 Inches
Year: 2018
Price: $2,500
Availability: Inquire

Joe Suzuki Happy Accident Series “Balloon” Puppy (Magenta)
Media: Epoxy Resin, enamel and plastic
Size: 5 x 9.5 x 3.5 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Joe Suzuki Happy Accident Series “Balloon” Bunny (Gold)
Media: Epoxy Resin, enamel and paint can
Size: 16 x 8 x 5.5 Inches
Year: 2018
Price: $2,500
Availability: Inquire

Joe Suzuki Origami Crane “LV x Supreme”
Media: Acrylic on canvas
Size: 16 x 4.75 x 8.25 Inches
Year: 2018
Price: $1,000
Availability: Inquire

Joe Suzuki Origami Crane “Gucci”
Media: Acrylic on canvas
Size: 16 x 4.75 x 8.25 Inches
Year: 2018
Price: $1,000
Availability: Inquire

Joe Suzuki McDonald’s “Paper” Bag
Media: Acrylic on canvas
Size: 15.5 x 7.5 x 4.5 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Joe Suzuki Tiffany “Paper” Bag
Media: Acrylic on canvas
Size: 15 x 8 x 12 Inches
Year: 2018
Price: $1,800
Availability: Inquire

Joe Suzuki In-N-Out “Paper” Bag
Media: Acrylic on canvas
Size: 15 x 7.5 x 4.5 Inches
Year: 2018
Price: $1,500
Availability: Inquire

Joe Suzuki Starbucks “Paper” Bag Set
Media: Acrylic on canvas
Size: 15 x 7.5 x 4.5 Inches & 10 x 6 x .5 Inches
Year: 2018
Price: $1,800
Availability: Inquire

Joe Suzuki Starbucks “Paper” Cp & Polar Bear Cake Pop
Media: Acrylic on canvas
Size: Life sized
Year: 2018
Price: $1,200
Availability: Inquire


Mitchell Spain Ceramic "Rusted Can" I
Media: Ceramic and glaze
Size: 5 x 3 x 3 Inches
Price: $295
Availability:
Mitchell Spain Ceramic "Rusted Can" II
Media: Ceramic and glaze
Size: 4.5 x 5 x 3 Inches
Price: $295
Availability:
Mitchell Spain - Oil Filter Mug "Fram" II
Media: Porcelain
Size: 4.5 x 5 x 3 Inches
Notes: This porcelain mug is made to look like a used oil filter - The handle looks like an oil filter wrench - These are fully functional and dishwasher safe.
Price: $85
Availability:
Mitchell Spain - Oil Filter Mug "K&N" II
Media: Porcelain
Size: 4.5 x 5 x 3 Inches
Notes: This porcelain mug is made to look like a used oil filter - The handle looks like an oil filter wrench - These are fully functional and dishwasher safe.
Price: $85
Availability:
Mitchell Spain - Oil Filter Mug "Valvoline"
Media: Porcelain
Size: 4.5 x 5 x 3 Inches
Notes: This porcelain mug is made to look like a used oil filter - The handle looks like an oil filter wrench - These are fully functional and dishwasher safe.
Price: $85
Availability:
Mitchell Spain - Rusty Flask I
Media: Porcelain with glaze
Size: 5 x 4 x 1.5 Inches
Notes: This is a fully functional flask, the lid screws off, hand wash only
Price: $125
Availability:
Mitchell Spain - Rusty Flask II
Media: Porcelain with glaze
Size: 5 x 4 x 1.5 Inches
Notes: This is a fully functional flask, the lid screws off, hand wash only
Price: $125
Availability:
Mitchell Spain - Salt & Pepper Shakers "Durkee's"
Media: Porcelain with glaze and labels
Size: 1.5 x 3 x 1.5 Inches
Notes: These are fully functional and dishwasher safe.
Price: $125
Availability:
Mitchell Spain - Salt & Pepper Shakers "Ann Page"
Media: Porcelain with glaze and labels
Size: 1.5 x 3 x 1.5 Inches
Notes: These are fully functional and dishwasher safe.
Price: $125
Availability:
Mitchell Spain - Beer Can Mug "Big Cat"
Media: Porcelain
Size: 3.75 x 5 x 3 Inches
Notes: This porcelain mug is made to look like a rusty beer can. The handle is a ceramic can opener - Do not use to open cans! Each piece gets its own individual touch and therefore no two are the same. These are fully functional and dishwasher safe.
Price: $85
Availability:
Mitchell Spain - Beer Can Mug "Fox" II
Media: Porcelain
Size: 3.75 x 5 x 3 Inches
Notes: This porcelain mug is made to look like a rusty beer can. The handle is a ceramic can opener - Do not use to open cans! Each piece gets its own individual touch and therefore no two are the same. These are fully functional and dishwasher safe.
Price: $85
Availability:
Mitchell Spain - Root Beer Can Mug "Super Coola"
Media: Porcelain
Size: 3.75 x 5 x 3 Inches
Notes: This porcelain mug is made to look like a rusty beer can. The handle is a ceramic can opener - Do not use to open cans! Each piece gets its own individual touch and therefore no two are the same. These are fully functional and dishwasher safe.
Price: $85
Availability: