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  • Provenance

    Private Collection, London

  • Catalogue Essay

    “Recently I‘ve been using Epson inkjet printers and flatbed scanners as tools to make works that act like drawings, paintings, even sculptures. The resulting images aren’t exactly what the machines are designed for – slick digital photographs. There is often a struggle between the printer and my material – and the traces of this are left on the surface –snags, drips, streaks, mis-registrations, blurs.” (Wade Guyton, in Teachers’ Resource Portal, ‘Wade Guyton’, Contemporary Museum, Maryland)

    For Untitled, from 2009, an Epson UltraChrome printer discharged its ink directly onto the linen canvas, the Op-art rhythm of the painting therefore being fabricated purely by digital input. Guyton is an avowed conceptual artist, attracted to forms and structures that, in his words, “contain their own internal logic” (S. Cotter, ‘Double Negative’, Parkett, no. 83, 2008). As Guyton has further remarked on this aspect of his work: “I have become interested in when something starts as an accident and then becomes a template for other things, or reproduces itself and generates its own logic until something else intervenes to change it” (in S. Rothkopf, ‘Modern Pictures’, Wade Guyton: Color, Power & Style, Cologne, 2006). Abandoning the touch of the artist completely and giving over all intervention to the inkjet printer has caused heated discussions about artistic strategies on formal and conceptual bases.

6

Untitled

2009
Epson Ultrachrome inkjet on linen
118.8 x 86.4 cm (46 3/4 x 34 in)
Signed and dated ‘Wade Guyton 09’ on the overlap.

Estimate
£100,000 - 150,000 

Sold for £169,250

Contemporary Art Evening Sale

10 October 2012
London