42
Christopher Wool
Three works: Three Women (Light I, II, III)
- Estimate
- $200,000 - 300,000
$437,000
Lot Details
silkscreen on Saunders Watercolor paper
each sheet 81 1/2 x 50 in. (207 x 127 cm.)
each frame 85 1/2 x 53 3/4 x 2 in. (217.2 x 136.5 x 5.1 cm.)
each frame 85 1/2 x 53 3/4 x 2 in. (217.2 x 136.5 x 5.1 cm.)
Each signed, numbered, dated and respectively inscribed "Wool 2005 3/9 I, II, III" along the lower margin.Each work is number 3 from an edition of 9 plus 3 artist's proofs, with variants in shades of light, medium and dark rose.
Specialist
Full-Cataloguing
Catalogue Essay
Along with making abstract paintings, there's a little bit of an investigation into what abstract painting can be.
CHRISTOPHER WOOL, 2009
For decades, Christopher Wool’s artistic practice has been concerned with peeling back the layers of abstraction and representation, creatively blurring the lines between these two seemingly opposing forces. This tension, which captures the essence of modern painting, often regulates an artist’s powers of assertion. Yet throughout his celebrated career, Wool has demonstrated that abstraction and representation are not enemies but rather useful creative allies, awarding artists boundless freedom when negotiating their individual means of expression.
The present lot, Three Women (Light I, II, III), sheds light on Wool’s belief that the meaning of a work relies on both physical and conceptual interaction. This series of silk-screens illustrates the clear and resonant progression Wool has made over his three-decade long career, catapulting the age-old genre of painting to new heights as it questions the very tradition. By engaging in the act of silk-screening, Wool breaks down the traditional means of making images, filtering his own intended image through a dot-matrix process that recalibrates the relationship between hand-stroke and representation. Like in Wool’s most sought-after and dynamic works, in Three Women (Light I, II, III) we see his exploration of the mechanics of expression, achieved through an intricate landscape of gesture and material. His works are a cornucopia of arabesque strokes and bold lines that expertly blend the acts of mark-making and erasure, highlighting the importance of the artist’s presence and intent in the meaning of his works.
CHRISTOPHER WOOL, 2009
For decades, Christopher Wool’s artistic practice has been concerned with peeling back the layers of abstraction and representation, creatively blurring the lines between these two seemingly opposing forces. This tension, which captures the essence of modern painting, often regulates an artist’s powers of assertion. Yet throughout his celebrated career, Wool has demonstrated that abstraction and representation are not enemies but rather useful creative allies, awarding artists boundless freedom when negotiating their individual means of expression.
The present lot, Three Women (Light I, II, III), sheds light on Wool’s belief that the meaning of a work relies on both physical and conceptual interaction. This series of silk-screens illustrates the clear and resonant progression Wool has made over his three-decade long career, catapulting the age-old genre of painting to new heights as it questions the very tradition. By engaging in the act of silk-screening, Wool breaks down the traditional means of making images, filtering his own intended image through a dot-matrix process that recalibrates the relationship between hand-stroke and representation. Like in Wool’s most sought-after and dynamic works, in Three Women (Light I, II, III) we see his exploration of the mechanics of expression, achieved through an intricate landscape of gesture and material. His works are a cornucopia of arabesque strokes and bold lines that expertly blend the acts of mark-making and erasure, highlighting the importance of the artist’s presence and intent in the meaning of his works.
Provenance
Exhibited