When We Were Kings

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8"x10" 2 of 200 available

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14.0x16.5 - Black - Matted      OUR PICK

14.0x16.5 - White - Matted

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11"x14" 7 of 500 available

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16.5x19.5 - Black - Matted      OUR PICK

16.5x19.5 - White - Matted

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16"x20" 50 of 50 available

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22.5x27.5 - Black - Matted      OUR PICK

22.5x27.5 - White - Matted

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24"x30" 9 of 10 available

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30.5x36.5 - Black - Matted      OUR PICK

30.5x36.5 - White - Matted

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More About This Edition:

+ Limited-edition, exclusive to 20x200
+ Museum quality: archival inks, 100% cotton rag paper unless noted
+ Signed + numbered certificate of authenticity included
+ Directly supports the artist
+ Handcrafted custom-framing is available

Our quoted dimensions are for the size of paper containing the images, not the printed image itself. We do not alter the aspect ratio, nor do we crop or resize the artists’ originals. All of our prints have a minimum border of .5 inches to allow for framing.

Artist Statement


The initial idea for When We Were Kings came from Damien Hirst's For the Love of God sculpture. When I see a Hirst/Barney/Murakami sculpture, I always wonder how I would produce that in my limited means. The pixels are similar to the diamonds, in their repetition and subtle variation. The title I chose references the Muhammad Ali/George Foreman documentary of the same name. It was such an unforgettable experience watching those two men, in perfect condition, attempting to be the greater boxer. The title When We Were Kings suggests no matter how great we become, we're never king for long. It plays on the simple idea of mortality; everyone can only be great for a brief period of time. The skull is the great equalizer: No matter who you are, everyone eventually leaves behind a simple skull.


Hollis Brown Thornton | See All Editions


Hollis Brown Thornton was born and raised in Aiken, SC.  He received his BFA from the University of South Carolina in 1999.  In 2001, he moved to Chicago.  He lived there for four years, working as gallery director of Mongerson Galleries and installation assistant at Russell Bowman Art Advisory.  He returned to Aiken in 2005, where he continues to live and work in a warehouse studio.