Almost Lost #4

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  • Condition Report

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  • Provenance

    Zach Feuer Gallery, New York
    Private Collection, Miami
    Acquired from the above by the present owner

  • Catalogue Essay

    Eddie Martinez is a contemporary American visual artist known for his monumental expressionist paintings. For almost two decades Martinez has created raw, energetic canvases influenced as much by street art as by Abstract Expressionism and canonical art history. Like artistic icon Jean-Michel Basquiat, to whom he has been frequently compared, Martinez’s work effortlessly fuses painting and drawing, abstraction and figuration, historical references and modern media in original and electrifying ways.

    Martinez has been critically acclaimed for his “exceptional gifts as a painter and draftsman, which he exuberantly combines” (Roberta Smith, The New York Times, 11 February 2010, online). He has also cemented a reputation for being “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) - a declaration pursued throughout Martinez’s artistic practice, from his roots as a graffiti artist to his cryptic subjects and unorthodox creative methods. Essentially self-taught, Martinez has spoken of his art as an extension of his innermost emotions and struggles: “Certainly, at times I can’t control how the anxiety and impatience and aggressive energy comes out” (the artist quoted in an interview with Artnet, ‘It’s Sort of Like a Boxing Ring in Here’: Watch Artist Eddie Martinez Wrestle His Way to a New Painting, 27 December 2018, online).

    Almost Lost #4 is testament to Martinez’s maturity as an artist. Layers of Martinez’s signature dark and complex iconography emerge in Almost Lost #4 – a sun and blue skies; the skeletal silhouette of a bird-like head and reddened lips; abstract gestures, objects and symbols piled atop each other. Simultaneously portrait, still life and landscape, Almost Lost #4 references the automatism of Surrealism, the cave paintings of art naïf and the rawness of art brut, executed with a subversive ease and lightness. Martinez appears to funnel his inner impulses directly onto canvas like the Abstract Expressionist action painters Jackson Pollock and Willem de Kooning, but eschews the gestures and clichés of painterly abstraction for something more visceral and unsettling. Like Basquiat, Martinez’s work process is deceptively purposeful and considered. Drawing is central to Martinez’s work and he draws constantly – using a Sharpie pen on a small notepad, napkin, or whatever else might be to hand, enlarging and screen-printing the final image onto canvas before he begins painting.

    Almost Lost #4 showcases the vivid brushwork and bold, tactile contours which are hallmarks of Martinez’s work. His practice blends media such as oil, acrylic, enamel and spray paints, applied with an aerosol can or with thick impasto brushstrokes and further manipulated in a variety of ways: wiped, scraped, scratched both dry and wet - an intuitive process with the artist stepping towards and away from the canvas “like a boxer diving in and out of confrontation” (observed by Artnet, 27 December 2018). The textured, disfigured layers of paint testify to the passionate, even primal, nature of Martinez’s creative process:

    “It’s sort of like a boxing ring in here—it’s a very physical process. […] Maybe I’m a little addicted to that. It’s a real way for me to work things out, outside of just the actual painting.” (the artist quoted in an interview with Artnet, 27 December 2018)

    Martinez has been honoured with solo exhibitions at respected museums and institutions, including the Bronx Museum, New York (2018), the Drawing Center, New York (2017) and the Davis Museum, Wellesley (2017). His work now forms part of eminent public collections such as the Saatchi Collection in London and the Morgan Library in New York.

  • Catalogue Essay

    美國當代視覺藝術家艾迪・馬丁尼茲,以其具有代表性的表現主義繪畫而聞名。近二十年來,馬汀尼茲所創作之充滿原始感和活力的布面作品,既受到抽象變現主義和正統藝術史的影響,也受到來自街頭藝術的感染。就像經常被提及與其做比較的藝術偶像尚·米榭·巴斯奇亞,馬汀尼茲的作品以其新穎且叫人眼前一亮的形式將繪畫和素描、抽象和具象、歷史引用和現代媒介毫不費力地融合在一起。

    馬汀尼茲以其「超凡的創作手法和繪圖天賦,並將兩者華麗地結合」而獲得廣泛的讚譽(Roberta Smith,《紐約時報》,2010年2月11日, 截自網路)。他還樹立了「專注於創作出完全摒棄人們期望的作品」之盛名(引自數位紀錄片系列《紐約特寫》中與Nick Ravich的訪談,Art21.org,2012年,截自網路)——他從塗鴉藝術起家,到其神秘的創作主題和非傳統的創作方法,這個不懈的宣言一直貫穿於他的藝術實踐。作為一名實質上自學而成的藝術家,馬汀尼茲曾表述其創作是自己內心深處情感和掙扎的一種延伸:「當然,有時我無法控制焦慮、煩躁和暴躁能量的散發」(引自藝術家與Artnet的採訪,《這裡有點像拳擊台:觀察藝術家艾迪·馬汀尼茲擊向一幅新畫》,2018年12月27日, 截自網路)。

    《幾乎迷失4號》證明了馬汀尼茲已然是一名成熟的藝術家。馬汀尼茲標誌性的深色且複雜的圖像層層浮現在此件拍品中——太陽與藍天;鳥一般的頭顱和紅唇的骨骼輪廓;抽象的姿態馬物件和符號一一互相層疊。同時是肖像、靜物和風景,《幾乎迷失4號》對超現實主義的自發性、素人藝術的洞穴壁畫和非主流藝術的原始性參照,以具有顛覆性的自在和輕盈於創作中體現。就像抽象表現主義行動畫家傑克遜·波洛克和威廉·德·庫寧那樣,馬汀尼茲彷彿將其內在的衝動直接轉移到畫布上,同時又避開了抽象繪畫的姿態和老套,並注入了更加本能和不安的元素。像巴斯奇亞一樣,馬汀尼茲的創作過程有著精心考量的誤導性。素描對馬汀尼茲的作品來說極其重要,並且他不停地在畫——使用Sharpie記號筆在小記事本上、紙巾上或其他任何手邊的東西上畫,然後將筆記在畫布上放大和絲網印刷成最終圖像,再開始繪畫。

    《幾乎迷失4號》展現了馬汀尼茲作品中標誌性的生動筆觸和大膽醒目的立體輪廓。他在創作中將油畫顏料、壓克力彩、瓷漆和噴漆等介質混合,使用氣霧罐或層層疊加厚重顏料的筆觸,並用多種形式進一步操作:在顏料濕或乾的時候進行擦拭、刮擦、劃痕——藝術家以一種直覺式的靠近或退離畫布的過程,「就像拳擊手在對抗中的躍入和跳出」(引自Artnet, 2018年12月27日)。那些有著層層紋理的、變形的顏料證明了馬汀尼茲的創作過程中充滿激情、甚至野性的本質:

    「這裏有點像個拳擊台——這是個充滿身體接觸的過程。[…] 或許我有一點點沈迷於此。這是在實際繪畫之外讓我能夠尋找出路的真正方式。」(引自藝術家與Artnet的採訪, 2018年12月27日)

    馬汀尼茲在許多著名的美術館和機構曾舉辦個展,其中包括紐約的布朗克斯美術館(2018年)、紐約的繪畫中心(2017年),以及韋爾斯利的戴維斯美術館(2017年)。他的作品已成為一些著名公共收藏的一部分,其中包括倫敦的薩奇美術館和紐約的摩根圖書館與博物館。

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Ο32

Almost Lost #4

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

Estimate
HK$1,000,000 - 1,500,000 
€116,000-174,000
$128,000-192,000

Place Advance Bid
Contact Specialist
Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019