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  • Provenance

    Private Collection, USA (acquired directly from the artist)
    Acquired from the above by the present owner

  • Catalogue Essay

    Eddie Martinez is ‘indomitable’, exclaimed Interview Magazine (David Coggins, ‘Eddie Martinez’, Interview Magazine, 29 November 2008, online). Since bursting onto the scene in the mid 2000s, Martinez has tantalised with works evocative of Abstract Expressionism yet amped-up with a raw urban edge, and gained international recognition for his masterful composition, dynamic use of line and exuberant colour palette. Widely collected, Martinez has exhibited internationally, including at the Museum of Contemporary Art Detroit, Bronx Museum of the Arts, Davis Museum at Wellesley College, the Saatchi Gallery, Timothy Taylor and Perrotin.

    Martinez is a complex artist drawn to risk taking. His more figurative earlier works, with his personal set of iconography – recurrent cartoonish characters and animals with oversized eyes, floating heads, flower bouquets, the moon – established him as an artist and comparisons to Jean-Michel Basquiat, Willem de Kooning, and Philip Guston have often been drawn. Yet having initially attracted attention for his ‘exceptional gifts as a painter and draftsman, which he exuberantly combines’ (Roberta Smith, New York Times, 11 February 2010), Martinez became ‘wholly committed to abandoning people’s expectations’ (quoted in an interview with Nick Ravich, in digital documentary film series ‘New York Close Up’, Art21.org, 2012, online).

    Untitled marks this exciting turning point in Martinez’s career, as the artist gravitated towards presenting ideas in an abstract manner. This large scale canvas painting is a visual blitz of colour, shape, line and form. Martinez’s distinctive palette of primary colours is punctuated with black and white, as well as other hues spanning the colour spectrum. Expressive manipulation of the linear plane, fluid lines spray-painted and dripping in places, sharp contours revealed by scraping away still-wet paint, spontaneous scratches, and graffiti elements are instinctively executed. Motion springs from the coarse, sweeping brushstrokes. Complexities of texture abound; thick impastos sit next to translucent layers of paint and blurred edges. In an interview, Martinez compared painting to boxing (in an interview with Nick Ravich, in digital documentary film series ‘New York Close Up’, Art21.org, 2012, online): drawing parallels to the jabbing, bobbing and weaving, pausing, strategising, harnessing of aggressive energy through the very physical process of painting. The deceptively simple composition, amorphous shapes and blocks of colour, seem to conceal the artist’s signature motifs – a sideway turning figure glaring with a large eye, raising his arm under the moon. This is made all the more mysterious by the white diamond shape staring back blankly, evoking an eye void of emotion.

    In this painting, Martinez energises and engages the mind. Evolving stylistically between representation and abstraction, the artist ultimately relinquishes control and leaves the viewer to discern what they wish. Martinez once described his style as ‘messy explosions of Picassos’ (Ted Loos, ‘Eddie Martinez’s Triumphant Abstractions Land at the Bronx Museum of the Arts’, Cultured Magazine, 13 November 2018, online). Here, he successfully recreates this sentiment.

    Born in Connecticut on a naval base, Eddie Martinez grew up throughout the USA, and briefly attended art school in Boston. Having spent his adolescent years as a graffiti artist, and perhaps without the constraints of a formal education, Martinez’s art simultaneously references canonical art, pop culture, and street art.

  • Catalogue Essay

    艾迪.瑪汀尼茲是「不屈不撓的」,《採訪雜誌》( Interview Magazine)如此描述這位藝術家(David Coggins,《艾迪.瑪汀尼茲》,採訪雜誌,2008年11月29日,網路文章)。自2000年代中期橫空出世地進入藝術界起,瑪汀尼茲以其帶著抽象表現主義氣息又充滿了原始的城市文化特徵之作品吸引著人們,並以其精湛的構圖、充滿動態的線條和豐富的色彩獲得了國際藝術圈的認可。瑪汀尼茲的作品被廣為收藏,並且他在世界各地舉辦過許多展覽,其中包括在底特律當代藝術博物館、布朗克斯藝術博物館、韋爾斯利學院戴維斯美術館、薩奇畫廊、蒂莫西.泰勒畫廊和貝浩登畫廊。

    瑪汀尼茲是一位複雜的、愛冒風險的藝術家。他早期更為具象的作品,以其個人風格化的圖像學語言-反覆出現的眼睛超大的卡通式人物和動物、漂浮的頭顱、鮮花花束、月亮-樹立了他自己的藝術風格並讓人們將其與尚·米榭·巴斯奇亞(Jean-Michel Basquiat)、威廉·德·庫寧(Willem de Kooning)和菲利普·加斯頓(Philip Guston)等藝術家做比較。然而,最初因他「對其超凡的繪畫與匠人天賦的完美結合」(羅伯塔·史密斯,《紐約時報》,2010年2月11日)而引起藝術界的注意,瑪汀尼茲「完全致力於放棄人們的期望」(引自紀錄片系列《紐約特寫》中與Nick Ravich的採訪對談,Art21.org, 2012年)。

    《無題》標誌著瑪汀尼茲職業生涯中這一令人激動的轉折點,轉向以更抽象的方式去呈現他的概念。這幅大型布面繪畫是一種顏色、線條和形狀的視覺閃現。瑪汀尼茲對原色的獨特使用搭配著黑白兩色,以及色譜中的其他色調。對充滿表現力的線條的使用,噴繪而成的流動的線條四處滴落,自然的劃痕將未乾的顏料刮去後顯露出清晰的輪廓,塗鴉的元素猛烈、本能地流露。動態從粗獷、橫掃的筆觸中湧現。質地複雜,比比皆是;厚重顏料的層疊與透明的顏料層次和模糊的邊緣比肩存在。在一次採訪中,瑪汀尼茲將繪畫比喻做拳擊(在紀錄片系列《紐約特寫》中與Nick Ravich的採訪對談,Art21.org, 2012年):通過出刺拳、上下左右閃躲、暫停、出策略、和利用侵略性能量,都在繪畫非常物理化的過程中得到體現。看似簡單的構圖,無定形的形狀和色塊,似乎隱藏了藝術家的標誌性圖案 - 一個側面轉動的人物,瞪大著眼睛,在月亮下舉起手臂。一個白色鑽石般的形狀,像一隻不含情感的眼睛,茫然地朝後方目視,這讓畫面變得更加神秘。

    在這幅畫中,瑪汀尼茲將意識激發並且帶入作品。在現實與抽象之間進行風格化處理,藝術家最終放開了控制,讓觀者自行決定他們想要看到的是什麼。瑪汀尼茲層將他的風格描述為「混亂爆炸式的畢加索」(Ted Loos,《布朗克斯藝術博物館的艾迪.瑪汀尼茲的抽象勝利之地》,Cultured Magazine,2018年11月13日,網路文章)。在這件作品中,他成功實現了這一點。


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Ο ◆2


signed with the artist's initials and dated 'EM.12' lower left
oil, enamel and spray paint on canvas
182.9 x 152.4 cm. (72 x 60 in.)
Executed in 2012.

HK$700,000 - 900,000 

sold for HK$2,500,000

Contact Specialist

Isaure de Viel Castel
Head of Department, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 26 May 2019