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Sale closes on 29 April 2pm BST

\n","auctionDetailsSmall","Online Auction 22 - 29 April 2021","extraInfo","

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Head of Sale, London

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+44 20 7901 7993

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cgibbs@phillips.com

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Miaz Brothers, 015 Young Lady 9, 2015. Estimate £6,000 - 8,000. Wired Online Auction.

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Recluse to Butterfly

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Jonathan Lyndon Chase, Store Window, 2017. Estimate £3,000 - 5,000. Wired Online Auction.

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How do I make my entrance back into society after being a recluse for the last year?

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Between the many, varied difficulties from the last year, we may recognize feelings of fragmentation and isolation. As our boundaries between life, work, and socializing blurred into one giant Zoom lump, parts of us also became sharper, their edges turning into moats that pushed away unsuspecting acquaintances. Jonathan Lyndon Chase’s Store Window appears to deal with these feelings of fragmentation, the reflections from the outside world illuminating the store’s interiors, making it difficult to make out what is what.

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The good news here is also the bad news—we were all there, all equally confused. Making an entrance into society will be as unfamiliar to everyone else as it is to you, so start small and know you are not alone. Put on your favorite outfit for your afternoon walk, take a buddy when you attend your first post-pandemic party, go shopping only with someone whose opinion you trust. We are all languishing here, and we will be forgetting our words, hesitating to press elevator buttons, and jumping at human touch for the foreseeable future. Let’s at least bond over that?

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Future Nostalgia

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Ugo Rondinone, 24 Mai 2008, 2008. £10,000 - 15,000. Wired Online Auction.

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Where does the “future” go after we experience it?

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When I think about time, my brain explodes. Look at this galactic vision by Ugo Rondinone titled in the past for its own present, a date from over a decade ago. Yes, the work resembles a starry universe, but it also shows my thoughts scattering into a million directions as I struggle to reconcile the fact that the present is passing as it is happening as it is pushing us into the future. And that the future can only exist in the present.

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Where were you thirteen years ago? I was in middle school probably wearing my red Birkenstocks (decorated with sheep) and reading Sense and Sensibility on a backyard swingset. We are living currently where the future was! This makes me inclined to believe that there is no “future” exactly, just an extensive present. Time is scattered and continuous, like a starry sky.

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Unplanned Obsolescence

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Ken Price, Untitled, 1974. Estimate £10,000 - 15,000. Wired Online Auction.

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Will NFTs eventually disrupt the art world much like digital files have made CDs, DVDs, and books virtually obsolete?

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Yes and no. The Yes: NFTs will absolutely disrupt the art world and not just through digital art. Digital art is just one application for the implementation of NFT technology, so this technology could eventually affect how we interact with everything, from retail to real estate to shipping. In terms of digital art, we will need to find new systems to display, sell, and accommodate it (as we are doing already!).

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The No: An e-book has the same content as its IRL counterpart; reading is more about the words than it is about paging through a hefty book. But not all artwork can exist in a digital form (not just the art already in collections, but even art that is yet to be made). Even if NFTs change how we interact with physical objects, NFTs cannot eliminate physical art because its content is too unique and too tied to form. Take Ken Price’s work—the luminous, sloping forms, tactile sculptures, and dynamic two-dimensional works rely on their relationship to the natural world as well as craft. The “aura” of a work will never be obsolete.

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Everyone Needs a Dog

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Katherine Bernhardt, Toco Toucan Toucano, 2020. £1,500 - 2,000. Wired Online Auction.

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Will I get a dog this year?

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I know, I know, these are toucans. But Katherine Bernhardt’s neon extravaganza represents the level of uncontained joy, ecstasy, and close companionship that you would feel if you got a dog this year. Bernhardt’s work teems with confidence and vibrancy, a playfulness that we all embody when we are around our canine friends, living instead of analyzing or worrying.

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So that was a yes. Get a dog! Get two dogs! Get three dogs, and then give me one.

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Discover More from Wired Online Auction >

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Recommended Reading

\n\n

Ask Artnonymous: Valentine's Edition >

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How Genieve Figgis Inspired ‘Bridgerton’ >

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\n","publishDate","2021-04-21T23:03:26.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/73964648/ask-artnonymous-what-does-the-future-hold-wired-online-auction","displayOrder",2,"auctionEditorialID",1198,"editorialID",3472,"flocklerID",73964648,"https://flockler.com/thumbs/sites/889/mbambo-phillips-9ae3a66d-3998-4417-8d5c-71c8d6382bf3_s600x0.jpg","As a storyteller, Mbambo seeks to motivate and inspire change. His work 'To Find Me' explores some of the South African artist's core stylistic and thematic preoccupations, through his signature textures, patterns, and colors. ","Wonder Buhle Mbambo, Between Soul and Identity","

Wonder Buhle Mbambo, To Find Me, 2019. Estimate £18,000 - 25,000. Wired Online Auction.

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“I understand my artistic practice as a space between my inner soul, and my identity. I communicate my views from where I am standing as a black youth in South African society and the world at large.” – Wonder Buhle Mbambo
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Exploring questions around identity, solitude, and authenticity, the luminous and captivating To Find Me exemplifies key thematic and stylistic preoccupations of contemporary South African artist Wonder Buhle Mbambo’s work. Executed in 2019 and dominated by bold colors, textured surfaces and careful attention to pattern, it remains one of the artist’s key works.

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Born in the village of Kwangcolosi in KwaZulu Natal, South Africa, Mbambo relocated to Durban in 2010 in order to develop his artistic practice. Since his first solo exhibition held at Durban Art Gallery in 2018, Mbambo has garnered considerable international attention and has come to be representative of South African contemporary art on a global scale. Especially significant in Mbambo’s oeuvre, the present work shares its title with his first international solo show, To Find Me, held at GALERIE PHILIPPZOLLINGER in 2019. Opening to critical acclaim, this exhibition marked a radical transition for Mbambo, seeing him moving away from working exclusively with charcoal on paper to the bold application of mixed media on canvas that the present work is particularly representative of.

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View this post on Instagram
A post shared by WonderBuhle (@wonderbuhle)

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“To Find Me was not about finding my identity, I know my roots and the DNA of my bloodline I am carrying. Rather it was sharing an experience, a true reflection process of inclining my spiritual path with what I had already become in this society.” – Wonder Buhle Mbambo

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Deeply biographical, in this important work, the artist represents himself in the center of the composition, surrounded by his entire Zulu village and flanked by two spiritual figures. Absorbed in meditation and picked out in tightly wound knots of brilliant white familiar from Mbambo’s portraits, these statuesque figures lend a sense of hushed ceremony and drama to the composition. Set out starkly against the darker hues of swirling blacks, blues and splashes of turquoise in the background, their open arms also create a striking framing device for the central supine figure who appears to float, suspended between them. Cut from red felt and painted over in a variety of longer brushstrokes and brilliant spots of color, the surface of this figure is highly patterned and absorbing, emphasized by the steady and confident gaze of the figure looking out at us. Taking place under the stars, the scene not only references Mbambo’s childhood memories, but reveals his highly regarded position within the community. The first person from the village to travel the world, he is seen as something of a guide and role model. As the work dramatizes, every time he returns, the entire village gathers around him, eager to hear all about his adventures.

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View this post on Instagram
A post shared by WonderBuhle (@wonderbuhle)

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Raised by his late grandmother and mother—the healer of their village—Mbambo foregrounds spirituality and traditional practices that occupied an important part of his childhood and have certainly been instrumental in shaping his art practice. Suffused with an aura of mysticism and magic, To Find Me expresses Mbambo’s desire to live beyond his imagination and to reintroduce the spiritual into the everyday. As the artist has explained: “I feel that we are in an in-between state: while we still carry old souls, we find ourselves alienated in this contemporary world of ours – we are disconnected and may even feel displaced. Through my artistic practice, I want to bestow a feeling of spiritual guidance, in order to better ourselves and to inspire a future for upcoming generations.”

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As a storyteller, Mbambo seeks to motivate and inspire change. Through his work, he wants to highlight the challenges that young people currently face in South Africa and seeks “to shape up the country to those that are coming.”

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Discover More from Wired Online Auction >

\n\n

\n\n

Recommended Reading

\n\n

Ask Artnonymous: What Does the Future Hold? >

\n\n

How Genieve Figgis Inspired ‘Bridgerton’ >

\n\n

\n","2021-04-22T17:30:06.000000Z","https://www.phillips.com/article/74015460/wonder-buhle-mbambo-between-soul-and-identity-wired-online-auction-london",1197,3473,74015460,"https://flockler.com/thumbs/sites/889/caroline-walker-bfee17c3-7300-4fcd-9209-3ac6577b705c_s600x0.jpg","As 'Joy, Hackney II' comes up in Wired: Online Auction, we caught up with the artist about painting the series, her current exhibition at GRIMM New York, and what she’s working on now.","In Conversation with Caroline Walker","

Caroline Walker, Joy, Hackney II, 2017. Estimate £6,000 - 8,000. Wired Online Auction.

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In her quiet, luminous paintings, Caroline Walker documents and reflects on the everyday experiences of women. Walker’s relationship to her subjects may vary (sometimes they are neighbors, sometimes they work nearby), but she approaches each image with an eye to the paradoxes of personal agency that are exacerbated by race, socio-economic status, age, and the particular kind of “women’s work” at which they labor.

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Joy, Hackney II is from Walker’s collaboration with the charity organization Women for Refugee Women, and it is a subtle and memory-infused painting of the first woman Walker visited for the project. As Joy, Hackney II comes up in Phillips’ Wired Online Auction, we caught up with Walker about painting the series, her current exhibition, Nearby, at GRIMM New York, and what she’s working on now.

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PHILLIPS: Joy, Hackney II is from your series of female asylum seekers in London. To start, could you tell me about your experience working on the project and working with Joy?

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CAROLINE WALKER: This project was the result of a collaboration with the charity Women for Refugee Women, in response to a commission from Kettle’s Yard in Cambridge. When I was considering how I could approach this subject matter, I was thinking a lot about the recurring theme of the domestic and the idea of “home” that had been prevalent in the work I’d been making over the past 15 years or so. I wanted to explore this theme with a group of women in the charity’s network who might be willing to let me visit them in the accommodation they had at the time. I was really happy that 5 women were interested in working with me, and we set up some visits.

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Joy was the first woman I visited and it was my morning with her that gave me confidence there was a really interesting and vital subject for painting here. Before I went, I was a little apprehensive, as I hadn’t met Joy before and also had no idea what her flat might look like, so didn’t know how I would respond visually. Previously all my work had been the result of staged photo shoots, where I was very much in control of the visuals and the suggested narrative. This project called for a completely different approach, one which was about responding to an individual woman’s circumstances, and trying to translate some of that in the way I portrayed them and their environment in the paintings. The visit with Joy, chatting over tea about her life and family, then having some fun together with the process of taking photos for the paintings while hearing about the things she enjoyed or found challenging about where she lived, was a really important moment in the development of my work as an artist. It marked a turning point in the way I research and make my paintings; one which now always takes real women’s everyday experiences as the starting point.

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As a result, this series of paintings is very important to me. Joy, Hackney II is the only work from the group which has been available to non-institutional buyers and was sold in the 2018 Her Stories charity auction to raise money for Women for Refugee Women, and 2 other charities that work with vulnerable women in the UK.

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P: Could you tell me a bit more about your choice of palette and technique for Joy, Hackney II, as well? The red tones are so striking! And the way you capture the room lit from within.

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CW: What you see in this oil sketch is very faithful to the interior of Joy’s flat and gives a little sense of her personality and taste with the bright colors on the daybed, rug, and her shoes. Of the 5 women I painted, Joy had the most secure accommodation and as a result had been able to make the space her own, choosing the colors she likes and surrounding herself with some things that made it feel more like home.

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Early on in my painting process I make oil sketches as a way of translating the imagery I’m working with from photography to a language of painting. I work very intuitively on these in terms of color palette and mark making, trying to capture something of the light and atmosphere I see captured in the photographic document of my visit, but also something less tangible to do with my memory of being in that space with that person. Some of the oil sketches are studies towards larger paintings, whereas others, like Joy, Hackney II, stay as stand-alone works.

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P: The painting—and your paintings more broadly—implicate the viewer as a voyeur, observing a pensive, subtle moment of personhood. Do the implications of this feel different to you depending on who the subject is?

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CW: Very much so, and I think about this a lot when I’m in the studio making the work. The women I paint have differing levels of personal agency depending on their job, class, socio-economic position, age or ethnicity, and some are rendered largely invisible in society by their circumstances. Rather than be voyeuristic or intrusive, I would like the viewpoint I present to implicate the viewer, but more as an aid to take them into the same space as the subject, and in doing so make visible those who we might overlook.

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In the “Home” series, which Joy, Hackney II is part of, I felt the visual cues of the open door I/we look through were especially meaningful in acknowledging I was an outsider getting a glimpse into their lives at a particular moment. When the series was shown at Kettle’s Yard, Cambridge and Art Exchange, University of Essex in 2018 there were transcripts of the women talking about their lives and their feelings on the project available to read alongside the paintings. It was important that their voices were included, contextualizing how the paintings were seen.

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P: How have notions of labor and domesticity shaped your work?

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CW: Ever since I was a little girl, I’ve been fascinated by images of women and it was all I wanted to draw. The women I drew were either very glamorous, dressed in high heels and fancy clothes, or were depictions of housewives cooking and cleaning, clearly inspired by my mum. These two polarized and somewhat incompatible visions of a woman could be seen to be equally limiting, though in different ways. As an artist, those paradoxes of what it is to be a woman in society and the many roles that we are expected to occupy are the basis of all my interests as an artist. This has been the case especially in the last few years as I’ve been focusing on the subject of women’s working lives and considering the idea of “women’s work,” asking what this work is and how it is valued by society. This exploration has taken me back to thinking about the invisible and unpaid but essential work that goes on in the home; work which is still disproportionately done by women. As part of this I returned to my childhood subject to make a series of paintings of my mum cooking, cleaning and gardening at the family home.

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P: Your work now has a particular resonance because of the way we have all been confined for the past year—and in the pandemic’s impact on women, especially. Have you been thinking differently about your work these past few months?

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CW: I currently have a solo exhibition at GRIMM New York (Until May 1st) called Nearby, the subject of which is women in my local area in London. Some are my neighbors, and others work in the shops or businesses I regularly visit. The paintings were largely made during the latest lockdown period in England, when the shrinking of daily life was an experience shared by many. It was also an experience that renewed a greater sense of community, and made us all appreciate those working in jobs that might not previously have been considered key to our everyday comfort. I’ve been interested in painting women that do vital but undervalued work for some time, but the pandemic has meant that these subjects are now framed by this new wider recognition for those that keep us all going on a daily basis.

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P: Could you tell me a bit about what you’re working on now?

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CW: I have a postponed solo show, Women’s Work, opening next month at the Midlands Arts Centre in Birmingham (UK) which brings together paintings from several series of work within this broader theme. Alongside the paintings there are audio pieces made by radio documentary maker Maria Margaronis, who interviewed some of the women I’ve painted, asking them about their personal and working lives.

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I’m also about to start a residency on the maternity wing at a hospital in London, where I’ll spend some time shadowing midwives, nurses and other women working in the department. I’m very much looking forward to exploring this subject matter, as it has both personal interest (my daughter was born there in 2019) and marks a move into one of the most fundamental areas of “women’s work.”

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Discover More from Wired Online Auction >

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Recommended Reading

\n\n

Wonder Buhle Mbambo, Between Soul and Identity >

\n\n

Ask Artnonymous: What Does the Future Hold? >

\n\n

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58

Jessica Jackson Hutchins

Blue and Orange

Full-Cataloguing

Jessica Jackson Hutchins