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Auction 25 November 10:30am HKT

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JW Marriott Hotel Hong Kong
\n88 Queensway, Admiralty, Hong Kong (map)

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Viewing 22-24 November

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Friday-Sunday 10am-6pm

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Read our new online bidding guide (also available in Japanese, Traditional or Simplified Chinese)

\n","auctionDetailsSmall","Hong Kong Auction 25 November 2019","extraInfo","Danielle So
\nAssociate Specialist, Head of Day Sale
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[210,211,212,213,214,215,216,217,218,219,220,221,222,223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322],"articles",[165,166,167],"departments",[158],"auctionCurrency",{"_155":72,"_156":157},"totalLotCount",113,"auctionMobilityAuctionRowId","1-2AI31C","auctionUrl","https://www.phillips.com/auction/HK010419","currencyCode","currencySign","HK$",{"_159":160,"_161":162,"_163":164},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_168":201,"_170":164,"_171":202,"_16":203,"_174":204,"_176":205,"_178":179,"_180":181,"_182":206,"_184":181,"_186":207,"_188":208,"_190":209},{"_168":192,"_170":164,"_171":193,"_16":194,"_174":195,"_176":196,"_178":179,"_180":181,"_182":197,"_184":160,"_186":198,"_188":199,"_190":200},{"_168":169,"_170":164,"_171":172,"_16":173,"_174":175,"_176":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191},"coverUrl","https://flockler.com/thumbs/sites/889/15_002-36ec2245-3f8a-45d8-9e5d-9b2bfd6dfe48_s600x0.jpg","section","summary","Drawing from both Eastern and Western traditions, artists working from the 20th century to today developed unique pictorial languages inspired by the world around them. ","Organic Abstraction Across Five Important Works","body","

Helen Frankenthaler Scorpio, 1987. Estimate HK$7,500,000 - 9,500,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.
\n© 2019 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York

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Helen Frankenthaler

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Helen Frankenthaler was an American second-generation Abstract Expressionist painter, whose practice was crucial to the development of the Color Field movement. Active for over six decades, she spanned several iterations of abstract painters while continuing to produce vital and ever-changing new work, gaining particular critical acclaim for her pioneering use of the “soak-staining” technique in oil painting.

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Frankenthaler began working on and exhibiting large-scale Abstract Expressionist paintings in the early 1950s, and was included in the seminal 1964 Post-Painterly Abstraction exhibition curated by the legendary art critic Clement Greenberg. By the early 1980s, Frankenthaler had amplified her painterly approach and readjusted her pictorial vocabulary: she laid down monochromatic fields of atmospheric color and superimposed dabs, dots and dashes of more tangible pigment. Scorpio is a prime example of works from this period, creating an imaginary landscape in which the sand leads towards a calm sea, set against a beautiful sky streaked with shades of blue and grey. Clouds emerge from the parts of the canvas untouched by the poured pigment. Bubbles rise like balloons into the sky, adding splashes of color to the composition. Her technique, although extraordinarily refined, renders an inner vision onto the canvas with perfect spontaneity and improvisation. Scorpio was recently featured in an exhibition at the Clark Art Institute in Williamstown (2017), in which some of Frankenthaler’s paintings and woodcuts were reassessed in light of her close relationship with nature. The exhibition highlighted the fact that Frankenthaler used a number of cues from the natural world — preliminary outdoor sketches, earth tones, textured layers of paint — to create her abstract canvases.

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Frankenthaler’s thinking paralleled that of great Asian modern masters such as Chu Teh-Chun, Zao Wou-ki and Zhang Daqian. Using diluted ink wash-like oils, these artists created sweeping painterly surfaces emulating natural movement. Zhang in particular, one of the most renowned and prodigious Chinese artists of the twentieth century who prefigured the journey of many of Chinese painters from guohua (traditionalist) painting to modern expressionism, combined his training across the cultures of the East and West to create expressionist masterpieces reminiscent of Tang Dynasty splashed-ink paintings, its spontaneity mirroring the divine process of creation.

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Chu Teh-Chun

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Chu Teh-Chun Le 30 mars 1982, 1982. Estimate HK$4,200,000 - 6,200,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

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Chu Teh-Chun was a celebrated Chinese-French modern painter who pioneered a singular style unifying traditional Chinese painting techniques and Western abstract expressionist art. Trained at the National School of Fine Arts in Hangzhou under the tutelage of Wu Dayu and Fang Ganmin, both of whom were considered fathers of Chinese oil painting, Chu became known as one of the ‘Three Musketeers’ of Chinese modernist art alongside friends and former schoolmates Zao Wou-Ki and Wu Guanzhong.

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Eager to learn more about the art of Monet, Cézanne and Renoir, Chu left his professorship at the National University in Taipei and set sail for France in 1955. An extremely gifted realist painter, he won a silver medal at the French Artists Art Fair for an academic portrait of his wife which was dubbed "the Mona Lisa of the East". But in 1956 a visit to the retrospective of the abstract painter Nicolas de Staël at the Musée National d’Art Moderne in Paris left Chu strongly shaken, and he made the decision to reject figurative painting and start anew.

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The creation of Le 30 mars 1982 marked a milestone in his growing critical success: an important retrospective of paintings and drawings made since Chu’s 1955 arrival in Paris, shown at the Musée des Beaux-Arts Andre Malraux in Le Havre. Now at the height of his expressive powers, Le 30 mars 1982 channels a sublime, spiritual energy and a poetic complexity of feeling. The blue oceanic expanse echoes the fateful journey by boat which brought Chu to France, the same journey where he crossed paths with his future wife Ching Chao and encountered for the first time the exotic lands of Cairo, Djibouti, Sri Lanka, and Vietnam. The quiet, contemplative mood is pierced by a luminous ray of light breaking through the thick, dark clouds – a motif Chu developed throughout the 1970s following his encounter with Rembrandt’s strikingly-lit oil paintings in the Netherlands.

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With a transcendental, universal aesthetic that sets him apart from Western abstractionists and his Chinese peers, Chu has been the subject of major institutional retrospectives. 2020 will be a significant year for Chu’s legacy, with a large traveling retrospective exhibition scheduled to open at the National Museum of China, Beijing, in April, followed by a second exhibition at the end of 2020 in Suzhou, the city of Chu’s birth, focusing on his works on paper.

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Wang Guangle

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Wang Guangle Terrazzo No. 9, 2003. Estimate HK$2,000,000 - 3,000,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

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A graduate of Beijing’s renowned Central Academy of Fine Arts, Wang Guangle is widely recognized as a pioneer of conceptual painting in China. Resisting conventional labels such as ‘representation’ or ‘abstraction’, his critically-acclaimed paintings represent a significant artistic breakthrough, embodying the physical effort of painting and capturing metaphysical concepts such as the passage of time.

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As a founding member of N12, a collective of young artists unified by a desire to break away from the traditions of representational painting in favor of individual expression, Wang spearheaded a new generation of Chinese artists dedicated to exploring “all possibilities beyond the rules of the Academy.” Rebelling against Social Realism (the officially sanctioned artistic style of the era), his 2000 graduation show at the Academy showcased five paintings which had taken him almost half a year to complete. The title of the series, 3pm to 5pm, referred to the period when Wang would paint in his studio, working to capture the rays of light projected across his studio floor by the setting sun. Terrazzo, a composite material consisting of chips of marble, quartz, granite, or glass poured with a binder, first appeared in Wang’s oeuvre as flooring within the 3pm to 5pm series. Originally focused on portraying the light projections on the floor, after a month Wang realized there were two directions to take: either he could attempt to capture the narrative aspect of the scene with light entering the room, or he could choose to emphasize the painting process itself by focusing solely on the terrazzo and stripping out all other details.

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Terrazzo No.9 (2003), an important early work from Wang’s Terrazzo series, depicts a slender, elegant slab of terrazzo set against a deep, inky-black background. Utilizing his academic training in realist techniques, Wang applied slow, methodical brushstrokes and an unemotional rendering of color to create a startling new form of painting. Rejecting the simplistic label of ‘abstraction,’ he sought to make clear that his work was the result of a concept, namely the time he spent laboring on the painting: “One painting could require three months or more. The time I spent on the painting was for me the important part for me” (quoted in Garcia Frankowski, ‘Interview with Wang Guangle’, Intelligentsia). Once he had managed to capture “every stone detail, every different shape and size, round/square/triangle” then he would consider the work finished. The laborious, quasi-ritualistic act of painting, akin to the traditional process of grinding ink sticks with water to make Chinese ink, gave him new insights into the nature of time: “The sensation of the passage of time always inspires me. Time changes everything, and when I can detect the pure movement of time, nothing else seems to matter. In these moments, there is very little else I would want to do” (quoted in Lorraine Rubio, ‘artnet Asks: Wang Guangle’, Artnet).

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Pat Steir

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Pat Steir Summer Waterfall, 2007-2018. Estimate HK$3,000,000 - 5,000,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

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Pat Steir is an American painter and conceptual artist best known for her Waterfall paintings, a series she began working on in the 1980s which engages with ideas of chance and East Asian philosophy.

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In a career stretching over five decades, Steir has undergone multiple transformations as an artist. Graduating from the Pratt Institute in New York, she rose to fame in the 1970s with her “intimate” conceptual monochromatic canvases of crossed-out roses and other subjects, which sought to destroy images as symbols. She subsequently underwent a formative period of artistic self-reflection, which culminated in The Brueghel Series (A Vanitas of Style) (1982–4), a pivotal work comprising 64 painted panels, each reinterpreting a section of a still-life vase of flowers by Jan Breughel the Elder in the style of a different artist or school.

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In the 1980s, struck by the radical ideas of artist and composer John Cage on integrating “chance-controlled” elements into his work (most notoriously 4’33”) Steir’s working methods pivoted once again. Liberating herself from the confines of representation, she began to produce dripped, splashed and poured paintings, allowing nature and elemental forces to take charge. Steir particularly drew inspiration from the Chinese Tang dynasty yipin (逸品) painters, who rebelled against orthodox painting methods in favor of explosive bursts of energy and spontaneity, splattering or using their hands to smear ink. Setting basic parameters around palette and canvas shape, Steir would begin to throw, pour and stream oil pigments of various viscosities down the upright, primed linen canvas. With different speeds, drying rates and effects for each of the multiple, diaphanous layers, the final appearance of each work was subject to infinite variations: “My idea was not to touch the canvas, not to paint, but to pour the paint and let the paint itself make the picture.” (quoted in Phyllis Tuchman, ‘Gravity’s Rainbow: Hot on the Heels of Key Showcases, Painter Pat Steir Preps Major Washington, D.C. Exhibition’, ARTnews).

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Summer Waterfall, executed over more than a decade, is a sublime work capturing the sensation of warm falling water. Steir explained why she has dedicated over 30 years of her life to the Waterfall series: “It’s chance within limitations […] Being more attached to the process than the conclusion, it’s an incredible freedom.” (quoted in Hilarie Sheets, ‘Pat Steir Gets Discovered, Again’, The New York Times, 18 January 2019, online).

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Tomoo Gokita

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Tomoo Gokita Kookie Limbo, 2012. Estimate HK$450,000 - 650,000.
\n20th Century & Contemporary Art & Design Day Sale at Phillips Hong Kong, 25 November.

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Tomoo Gokita’s signature monochrome paintings typically draw upon an assortment of distinctive, kitschy pop-culture motifs ranging from pin-up girls to cowboys and Mexican wrestlers. Images appropriated from television, advertising and pornography are deconstructed with a series of deftly-applied smudges, distortions and gestures that render the forms of Gokita’s subjects unrecognizable yet uncannily familiar.

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Once considered an outsider by the Japanese art establishment, who struggled to accept his cryptic use of low-brow cultural imagery and background as a commercial illustrator, Gokita’s breakthrough came in 2005 when a curator’s chance encounter with Gokita’s book Lingerie Wrestling (2000) in a museum shop led to his inclusion in the New York group show “Stranger Town”. The renowned American critic Roberta Smith profiled the then-unknown Japanese artist: “One of the show’s high points is the stunning wall devoted to drawings in charcoal, ink or pencil by Tomoo Gokita […] Mr. Gokita’s vocabulary barrels across illustration, pornography, abstraction, children’s drawing, calligraphy and sign-painting, with a perfect control, velvety surfaces and tonal range that makes black-and-white feel like living color” (‘Invading Genres Breach the Art World's Porous Borders’, The New York Times).

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Kookie Limbo puts the artist’s versatility on full display. Devoid of figuration, the composition is instead a jigsaw of flat, planar shapes, quilted together in a distinctly expressionist manner. The work’s distinctive title actually references a song by the anonymous musician Kookie Joe, who released Caribbean Limbo music in the early 1960s. Gokita got his start as a graphic designer making album covers for music labels, and has stated “My creative sensibility is somehow much more stimulated by viewing the cover jackets in record shops than by viewing works of art in museums and galleries… For instance, the other day, I was so excited that the title of the music I was listening to, while painting, coincidentally and perfectly suited that particular painting.” One of today’s foremost artists working on an ever-more global stage, Gokita eschews rigorous planning and always leaves open an element of chance when he works: “To start the work in an improvisational way causes various unexpected accidents. These accidents allow me to perceive some confusion and wonder, and they provide me with a strange motivation to create works, which is so stimulating that I feel a distinct pleasure” (quoted in Steven Cox, 'Tomoo Gokita Interview,' Hunted Projects).

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\n","publishDate","2019-11-07T15:13:05.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/50415391/organic-abstraction-frankenthaler-chu-wang-steir-gokita","displayOrder",2,"auctionEditorialID",691,"editorialID",790,"flocklerID",50415391,"https://flockler.com/thumbs/sites/889/139_001-93dbd956-95f9-407e-8141-a49cbdec23d9_s600x0.jpg","Proceeds from 10 Day Sale works, all donated directly by artists, will support the cultural initiatives of the Hong Kong Contemporary Art Foundation. ","HOCA Foundation Benefit Auction","

José Parlá Friends Around Town, 2019

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Phillips is delighted to offer a unique selection of works at auction in partnership with the Hong Kong Contemporary Art (HOCA) Foundation, as part of the 20th Century & Contemporary Art & Design Hong Kong Day Sale. The HOCA Foundation was launched in 2014 to promote contemporary art in the city by providing free-access, museum-quality exhibitions to the community. HOCA has presented multiple solo exhibitions for artists such as JR, Invader, KAWS, and most recently, Textures of Memory, the most comprehensive exhibition of José Parlá's work in Hong Kong to date. HOCA also provides arts education to the city’s underprivileged youth with guided tours, artist studio visits, workshops and various interactive activities held throughout the year. This unique section will feature 10 works generously donated by 8 established international artists, including Futura, José Parlá, Daniel Arsham and Cleon Peterson. The proceeds of this benefit auction are redirected to HOCA's future initiatives, helping the foundation to democratize art and enrich the cultural life of Hong Kong.

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José Parlá

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José Parlá Reason Random Season, 2019

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Brooklyn-based visual contemporary artist José Parlá is critically acclaimed for his colorful multidisciplinary practice that blurs the lines between art, architecture, identity and environment. With influences drawing from his Cuban-American heritage, involvement with Hip Hop’s underground art culture and his city surroundings, Parlá has established a style of painting that transforms the language of the street into a hybrid form of abstraction and urban realism. Finding inspiration in city walls tarnished from years of neglect, the artist’s vibrantly elaborate paintings capture the rawness of urban decay, revealing hidden narratives as the layers are unpacked.

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Both Friends Around Town and Reason Random Season are prime examples of Parlá's uniquely improvisational approach, as he combines painted marks rendered in acrylic and oil, with plaster and collages of found ephemera. Complex in their execution, both striking canvases invite the viewer to dissect their surfaces from an archaeologist’s point of view. The more Parlá’s works are engaged with, the more detail emerges in their layered surfaces, strengthening their narratives as their urban histories are revealed. Widely celebrated for his permanent installations of large-scale murals, Parlá has also exhibited worldwide, presenting solo shows in recent years at the Bryce Wolkowitz Gallery in New York (2019), the Neuberger Museum of Art (2018), SCAD Museum of Art (2017), Brand New Gallery in Milan, Italy (2017) and at the Young Arts in Miami (2016).

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Futura

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Futura THEY SAW US, 2019

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Dubbed the godfather of contemporary graffiti, Futura – also known as Leonard Hilton McGurr – has been widely praised for putting the ‘art’ into street art. Alongside contemporaries including Jean-Michel Basquiat and Keith Haring, the multi-faceted American artist helped to define the graffiti movement of the early 1970s through introducing abstraction to an entirely letter-based medium. Executed in 2019, the freshly-painted present work demonstrates Futura’s technical mastery, which his successors have yet to match. Rendered in brilliant hues, Futura’s pioneering spirit as an inventor for new spraying techniques is clearly evident, in which larger areas of paint juxtapose impossibly thin aerosol lines. Applying paint to a canvas laid on the ground, similar to his predecessor Jackson Pollock, THEY SAW US is marked by a repertoire of motifs that Futura has come to be known for in his now refined approach. Energetic whilst still retaining a sense of balance, a pattern of atoms, stars and circles intermix on the predominantly primary-colored work. In a highly retro-futuristic style, the bright composition is as much about the artist’s internal mind as it is about our wider galaxy. THEY SAW US is a striking example of Futura’s unique aesthetic that has left an unforgettable mark on modern culture

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Cleon Peterson

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Cleon Peterson Deceive You – Red, 2019

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The dystopian worlds portrayed in Cleon Peterson’s paintings investigate the struggles between power and submission. Depicting themes of violence, sex, carnage and chaos, the Los Angeles-based artist’s aesthetic is heavily inspired by the classical Greco-Roman vases of warriors in battle— resulting in modern-day scenes that appeared to have regressed into the past. Deliberately confining his colour palette to red, white and black, the artist uses the bold emotive shades to further highlight his thoughts on present-day moral and social issues, as well as global and national politics – “Red, black and white feels violent and references the authoritarian colors used in propaganda, uniforms and symbols from the past.” (Cleon Peterson quoted in "Cleon Peterson’s New Exhibition Blood & Soil Attacks American Politics Head On," It’s Nice That). At once provocative, gripping and shocking, Peterson’s works unapologetically confront their viewers with the darkest recesses of the human mind.

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Shepard Fairey

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Shepard Fairey Rose Shackle, 2019

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Shepard Fairey is a multi-hyphenate American artist famous for his passionate activism in support a diverse slate of global causes. Fairey is best known for, among other things, founding the streetwear brand Obey as well as his iconic "HOPE" poster of Barack Obama that he produced prior to the 2008 U.S. presidential election.

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Shepard Fairey Lotus Ornament, 2019

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Fairey’s hand-painted multiples are built on the medium of stenciled pulp, collage, screenprint and embossing, resulting in highly tactile works that seem to portray the textured energy of the streets and city in his works. The prints combine symbols and references from multiple cultures worldwide, underscoring the international relevance of the artist's oeuvre.

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Erik Parker

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Erik Parker Mind Revolution, 2005

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German-born artist Erik Parker makes pieces that are notable for their psychedelic explosion of color, as well as the incorporation of pattern and text into his oeuvre. Parker first studied art at the Univerity of Texas, Austin, under Peter Saul and went on to earn his MFA from Purchase College in New York. The present work, Mind Revolution, is emblematic of Parker’s practice in it’s organized, even methodical presentation of chaos, manipulating corporeal and celestial forms into a single cohesive composition. This work on paper, executed in 2005, is an artist’s proof. Parker’s explosive images often recall popular culture, fusing the visual language of cartoons, album covers and graffiti. Parker has been the subject of solo exhibitions at institutions like the Aldrich Contemporary Art Museum in Connecticut, the De Appel in Amsterdam and the Modern Art Museum of Fort Worth.

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Felipe Pantone

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Felipe Pantone Chromadynamica Manipulable, 2019

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For Felipe Pantone, his art is a meditation on the ways we consume visual information in the technological age, exploring the displacement of the light spectrum. Taking his source of inspiration from kinetic artists such as Victor Vasarely and Carlos Cruz-Diez, he utilizes the moiré effect (in which lines of contrasting color give the impression of movement), creating an electric vibrating sensation. To achieve this effect, Pantone uses a modeling software that allows for 3D insights and he translates this into his paintings and sculptures.

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VHILS

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Alexandre Farto aka VHILS Dicey Series #19, 2019

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Alexandre Farto, also known as VHILS, is a Portuguese graffiti artist. Growing up in Seixal, a suburban village outside the capital of Lison, the artist was inspired from a young age by the rapid industrialization that his home country underwent in the 1980s and 1990s. His work attempts to reflect the constant cycle of creation and destruction that cities and their infrastructure experience. The artist reflected, "I like to use destructive means to create artwork that is meaningful and poetic, mostly portraits that can humanize the often oppressive public space that we find in our cities."

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Daniel Arsham

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Daniel Arsham Quartz Eroded Vogue Magazine 101, 2019

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Through thought-provoking and eye-catching work, Daniel Arsham has masterminded a multidisciplinary practice that exists between art, architecture, and performance. Unpacking the world we live in through a range of media, the one thread that ties his work together is that of inevitability – that objects in the present reflect ideas from the past, and are destined to be transformed by the future.

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Showcasing the iconic Vogue magazine in his signature minimalist aesthetic— quartz crystals that seem to grow out of eroded surfaces on a clean matte background, the artist brings the humble domestic sized periodical into the realm of a massive fine sculpture. Rendered in his signature pale shades of monochromes, Arsham creates a work that marries the past and the future, in turn speculating on the fate of humanity through the exploration of space and light. Executed in 2019, the artist also pays homage to the passing of legendary architect I. M. Pei, his name carved in relief onto the lower left of the magazine cover of the magazine, immortalizing him as part of an object that transcends time.

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\n","2019-11-01T19:07:36.000000Z","https://www.phillips.com/article/50063292/hoca-foundation-benefit-auction",681,784,50063292,"https://flockler.com/thumbs/sites/889/1_001-062ea1e2-668c-4121-aa65-9c6249a43684_s600x0.jpg","Derived from history yet unmistakably contemporary, the Irish painter's work combines the humorous with the grotesque. ","Spotlight on Genieve Figgis","

Genieve Figgis A Social Portrait, 2014. Estimate HK$120,000 - 180,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

\n\n

In true contemporary fashion, Genieve Figgis’ career began on Twitter when her artworks on the platform caught the attention of celebrated American artist Richard Prince. After starting a family, Figgis began studying fine art at the Gorey School of Art in Wexford at the age of 30, mesmerized by the experimental nature of painting and the medium’s long attachment to history. “Painting is about pleasure. If it weren’t pleasurable, I wouldn’t do it. For a long time I’ve been pouring paint – the medium’s unpredictability is the addiction for me…” explains Figgis (quoted in Olivia Parkes, “The Irish Artist Attacking the Female Figure with Paint”, Vice). Influenced by a wide array of contemporary female artists such as Jenny Saville, Marlene Dumas, and Lynette Yiadom-Boakye, Figgis strikes a balance between figuration and abstraction, combining apparent pictorial banality with an underlying otherworldly quality in turns both funny and subversive.

\n\n

\n
I love looking at ideas of the past in Old Masters. They were made to tell you a story. Some of the portraits have the authority and theatricality... I enjoy looking at people from the past and how they portrayed themselves.
\n

\n\n

\n\n

Sir Joshua Reynolds 4th Duke of Marlborough and Family, circa 1777-78. The Duke of Marlborough Collection in Blenheim Palace, Oxfordshire, England.

\n\n

Painted in 2015, A Social Portrait is nastily entertaining and distinctly representative of the artist’s interest in history as a starting point for her work. In A Social Portrait, Figgis paints a traditional aristocratic family portrait in a domestic setting, reminiscent of a Georgian country house. Throughout the canon of art history, male artists have championed the notion of the home as a way of reflecting lineage and identity. These works embodied the hierarchical system of virtues of how women should behave, as in Sir Joshua Reynold’s 4th Duke of Marlborough and Family created in the 17th century. Contrary to this, A Social Portrait, while taking to history as a source of inspiration, puts Figgis’ own contemporary spin on the classical subject, playfully knocking down the ideals of the ‘stiff’ domestic setting through the pose, appearance and attire of her figures. Figgis renders all of her historic characters with equal importance, each confronting the viewer directly with a haunting yet humorous gaze. Figgis dresses her characters in distinctly Georgian attire, yet deliberately picks dresses and hairstyles that were considered to be progressive and contemporary at the time – painting the women in 18th century-style chemise gowns, deemed to be immodest and informal, but considered as in fashion by forward-thinking aristocrats; and the men, bewigged and dressed in dark, well-cut and fitted overcoats. From the women on the far left to the dog in the center and the men on the right, each character is painted with skull-like, animalistic features, bathed in rich colors that bubble, ooze and marbleize into a creamy pool, calling to mind spectral forms and leering ghouls. A far cry from a stately portrait, Figgis has instead created a darkly humorous send-up of the bourgeois values those works purported to represent.

\n\n

\n\n

Genieve Figgis Birth of Venus (After Alexandre Cabanel), 2018.
\nEstimate HK$250,000 - 400,000.
\n20th Century & Contemporary Art & Design Day Sale at Phillips Hong Kong, 25 November.

\n\n

First unveiled as part of the third installment of the international biennial, L’Almanach 18: Genieve Figgis, at the Dijon Consortium Museum in France, Birth of Venus (After Alexandre Cabanel) is another prime example of the artist’s exploration of history. One of the many alluring nudes on view at the Paris Salon of 1863, Alexandre Cabanel’s Birth of Venus (1863) was received in triumph as it perfectly embodied the ideals of academic art, with highly idealized bodies carefully modeled in silky brushstrokes, and more importantly, set against the backdrop of a mythological and allegorical pretext. While Cabanel’s Birth of Venus was shown to great acclaim at the official Salon, one other work caused great controversy at the Salon des Refusés (the Salon for the rejected), Manet’s Le Déjeuner sur l’herbe, where he featured a female nude in a contemporary setting seated with two clothed men in the countryside, thereby transgressing the rules of academic painting and scandalizing the day’s morals. Looking to Cabanel’s masterpiece as her main source of inspiration, Figgis puts her own contemporary spin on the classical subject that was once seen to embody the perfect ideals of academic painting, not shying away from questioning the validity of taste and bringing home the importance of non-conformity when it comes to originality and the personal vision of the artist.

\n\n

Reinterpreting the classical female character in a whimsical and humorous manner, Figgis renders Venus with skull-like, even animalistic features, bathed in rich candy colors that seem to melt through the paint like candle wax. “The women in the paintings are reinventions of historical portraits. I like to paint them as more vibrant characters, braver, more color and alive” she explained. It is this very coexistence of the whimsical and macabre that makes the present work all the more charming, as Figgis’ Venus hovers between an ancient deity and a modern dream. While Figgis never sets out to intentionally portray grotesque or comedic in her work, the painting is her stage and the story she paints happen by chance, allowing her to invent as she goes along, with a blend of continuous and sinuous acrylic brushstrokes, with no idea of how it will end. She produces a fascinating moment, in which a bygone era reflects modernity with wit and charm.

\n\n

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Helen Frankenthaler

Chu Teh-Chun

Chu Teh-Chun Le 30 mars 1982, 1982. Estimate HK$4,200,000 - 6,200,000. \n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

Wang Guangle

Wang Guangle Terrazzo No. 9, 2003. Estimate HK$2,000,000 - 3,000,000. \n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

Pat Steir

Pat Steir Summer Waterfall, 2007-2018. Estimate HK$3,000,000 - 5,000,000. \n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

Tomoo Gokita

Tomoo Gokita Kookie Limbo, 2012. Estimate HK$450,000 - 650,000. \n20th Century & Contemporary Art & Design Day Sale at Phillips Hong Kong, 25 November.

José Parlá

José Parlá Reason Random Season, 2019

Futura

Futura THEY SAW US, 2019

Cleon Peterson

Cleon Peterson Deceive You – Red, 2019

Shepard Fairey

Shepard Fairey Rose Shackle, 2019

Shepard Fairey Lotus Ornament, 2019

Erik Parker

Erik Parker Mind Revolution, 2005

Felipe Pantone

Felipe Pantone Chromadynamica Manipulable, 2019

VHILS

Alexandre Farto aka VHILS Dicey Series #19, 2019

Daniel Arsham

Daniel Arsham Quartz Eroded Vogue Magazine 101, 2019

Sir Joshua Reynolds 4th Duke of Marlborough and Family, circa 1777-78. The Duke of Marlborough Collection in Blenheim Palace, Oxfordshire, England.

Genieve Figgis Birth of Venus (After Alexandre Cabanel), 2018.\nEstimate HK$250,000 - 400,000.\n20th Century & Contemporary Art & Design Day Sale at Phillips Hong Kong, 25 November.

Chu Teh-Chun Le 30 mars 1982, 1982. Estimate HK$4,200,000 - 6,200,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

Wang Guangle Terrazzo No. 9, 2003. Estimate HK$2,000,000 - 3,000,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

Pat Steir Summer Waterfall, 2007-2018. Estimate HK$3,000,000 - 5,000,000.
\n20th Century & Contemporary Art Evening Sale at Phillips Hong Kong, 24 November.

Tomoo Gokita Kookie Limbo, 2012. Estimate HK$450,000 - 650,000.
\n20th Century & Contemporary Art & Design Day Sale at Phillips Hong Kong, 25 November.

Genieve Figgis Birth of Venus (After Alexandre Cabanel), 2018.
\nEstimate HK$250,000 - 400,000.
\n20th Century & Contemporary Art & Design Day Sale at Phillips Hong Kong, 25 November.

201

Jonas Wood

Untitled

Full-Cataloguing

Jonas Wood