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This spring across Geneva, New York, Southampton and Zurich we present highlights from our 20th Century & Contemporary Art Evening & Day Sales in London.
\n
\nSouthampton
\n26 - 30 May
\nOpening Hours: 11:00am - 6:00pm southampton@phillips.com
\n
\nZurich
\n10 - 12 June
\nOpening Hours: 10:00am - 6:00pm
\npkurath@phillips.com
\n
\nLondon
\n22 - 30 June
\nOpening Hours:
\nMonday-Saturday 10:00am - 6:00pm
\nSunday 12:00pm - 6:00pm
\nClientServicesLondon@phillips.com

\n","auctionDetailsSmall","London Auction 29 June 2022","extraInfo","

\n\n

Specialist, Associate Director, Head of Day Sale, 20th Century & Contemporary Art
\n+44 20 7318 4084

\n\n

stovey@phillips.com

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Urs Fischer, Iron, 2015. 20th Century & Contemporary Art London.

\n\n

Tackling themes of perception and representation with characteristically sardonic wit, Urs Fischer’s 2015 painting Iron is an example of the artist’s use of distortion to subvert established modes of self-portraiture in art history. The monumental work takes Fischer’s own face as a starting point, as passages of rippling fleshy pinks, sky blues, and stormy grays chase each other across the surface. Fischer harnesses the techniques enabled by his multidisciplinary practice in photography and silkscreen to both represent and obscure his own likeness.

\n\n

Fischer’s self-portrait is made defiantly permanent by pushing the notional subject to its limit. The artist asserts a physical presence and place in art history through its huge scale and hefty aluminium support. Fischer is known for merging boundaries; the substantialness of the support allows the painting to move between the realms into sculpture. “The way I see it,” he notes, “my paintings are more like sculptures. I see them as objects on the wall that have a particular surface. The paint applied is just one possible layer.” Working on top of an enlarged photograph rotated 90 degrees, the artist’s fragmented face is barely permissible through the layers of silkscreen, ink, acrylic paint, gesso, and primer that encircle elements of his face, such as the eye, eyebrow and nose.

\n\n

Iron belongs to a small series of works from 2015 in which Fischer expands a syncretic approach to traditional forms with mutative characteristics. In these works, Fischer draws on his early studies of photography as a young artist at Schule für Gestaltung in Zürich. Rather than limiting his scope to straightforward engagement or critique, however, Fischer instead uses a swarm of materials and modes to create an assemblage that brings dark humor to a deliberately uncanny malformation of the human face. A self-proclaimed student of art history, Fischer references the collage techniques of Pablo Picasso and George Braque, as well as Surrealist master René Magritte’s practice of covering his subjects’ faces with everyday objects, thus concealing their identity.

\n\n

\n\n

Urs Fischer, Magnesium, 2015. Sold for $693,000 at Phillips' 20th Century & Contemporary Art New York Day Sale on 19 May 2022.

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Fischer’s use of material presence and immaterial concepts is further given dimension by its conversational quality, a practice he shares with friend and fellow installation artist Rudolf Stingel. By engaging the viewer to question their perception of a work, a dialogue forms between not only the viewer and the artist, but also with the work itself as an intermediary. How one takes in Iron is less about its abstraction and more to do with how absorbing its ambiguity can lead to different outcomes, which, in turn, shows Fischer’s influence from earlier Dada and Situationist movements. His relationship with Stingel is also evident in the use of gray as a utilitarian jumping-off point from which color springs to life, even in its most diffuse forms.

\n\n

Fischer has built his celebrated reputation on his longstanding investigational approach, exploring opportunities to contrast opposite phenomena through an array of media, from sculpture and installation, to drawing, painting, photography, printmaking, and digital montage.The details of materials used in his work are scrupulously documented and scientifically noted in the artist’s own cataloguing. Evidenced in Iron, Fischer creates what appears to be an enormous abstraction, but is in fact a self-portrait; heavily impasto in appearance, it is in reality almost flat; the density of the pigment is countered by the delicate patterning of the silkscreen technique.

\n\n

The subject of the human figure and self-portraiture placed alongside the notions of time and decay have been consistent sources of inspiration for Fischer. The theme has been at the core of his figurative wax works since 2001, and the artist often augments his forms through melting, fragmentation, decapitation, and penetration. As the melting candle distorts and dissolves the likeness of the wax sculptures over time, here Fischer uses brushstrokes to distort a previously recognizable image of his own face.

\n\n

Urs Fischer is currently the subject of his celebrated solo exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, through 18 September 2022.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

A New Generation of British Women Artists >

\n\n

Ex Machina: A History of Generative Art >

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25 April 2020","mainImagePath","https://dist.phillips.com/auction-assets/UK010522/172027_001.jpg","estimateSymbols",[500],"enhancedLotComponents",[485],"conditionReport","The work has not been examined out of the frame, framed in a brown wooden tray frame and presented free-floating. The canvas and stretcher are in good condition. There is very minor rubbing to the corners and edges in places, and very minor very occasional hairline paint cracks to the lower left horizontal edge, all only visible on very close inspection. The work has been examined under Ultra Violet light and no restoration appears. Otherwise, there are no apparent condition issues with this work.",{"_166":72,"_167":168},"additionalImagePaths",{"_486":124,"_487":488,"_489":490,"_16":491,"_492":493},"isActive","componentType","RichText","componentId",9583,"DETAIL-HEADER-DISABLED 65632","componentItems",[494],{"_486":124,"_495":496,"_497":498,"_499":-7},"componentItemId",12905,"htmlCaption","

Home is a closely cropped domestic still life that teeters on the boundary between typical and absurd; pleasing and abject; familiar and uncanny. Two pairs of women’s shoes are propped up against the skirting board, virtually animated and shuffling to avoid the brown and white liquid which that from the two knocked over cartons. The spilled fluids swirl together, almost filling the cramped picture frame as it creeps into the foreground towards the viewer.

\n\n

\nShannon Cartier Lucy studied at New York University and began her art career in the city, but a divorce and substance addiction led the painter to put creating art on hold and return to her hometown, Nashville, Tennessee, where she pursued a degree in psychotherapy. In 2017, following a ten-year hiatus, Cartier Lucy was spontaneously compelled to pick up the paint brush, which led to Our New Home and was closely followed by 30 more paintings including the present work. These new paintings differed greatly in style and technique to the artists early work, they are precise in technique and united by the underlying sense of unease which permeates through each scene. In Our New Home (2017), a beautifully rendered glass fishbowl sits precariously above a gas flame, captured while the fish swim unaware and before the water boils. Similarly in Naptime (2018) there is a morbid sense of imminent demise as a female figure sleeps peacefully beneath a clear plastic sheet which also covers the surrounding bedroom furniture.

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'The image is intriguing and sexy and scary or odd, depending on who is seeing it. Painting somehow elevates the image, whatever it is, because the craft and its physicality can stop you, draw you in and convince you of its presence.' —Shannon Cartier Lucy

\n\n

In 1980, Bulgarian-French philosopher Julia Kristeva coined the term abjection to describe the feeling of revulsion and disgust when the boundaries we use to categorise the world, such as inside/outside, animal/human, animate/inanimate and life/death, are transgressed. In the 1980s and 1990s, this theory sparked a movement of artists who explored this through their work, focussing mainly on the human body as the subject and with a strong feminist context. Unlike artist’s such as Louise Bourgeois, Jake and Dinos Chapman and Sarah Lucas who represented these themes predominantly through sculpture, Shannon Cartier Lucy’s recent practice is firmly anchored in traditional oil painting. Cartier Lucy’s paintings conjure a sense of abjection in the viewer, through the implied narrative in each work, with a softened and bright result. In If My Hand Offends Hires (2019), a large pair of scissors close around an outstretched wrist, the image is frozen before the skin can be pierced and the viewer’s mind is required to simulate the inevitable. The artist’s work plays on sensations of the uncomfortable and leaves the viewer suspended in a prolonged sense of calm before disaster strikes. The artist’s preoccupation with this feeling can be partially attributed to her father, who is diagnosed with schizophrenia, was homeless for a time and later lived with Cartier Lucy and her partner: ‘He’s a guy who wears two pairs of pants, and smears his television with peanut butter,’ she says. Rather than being horrified by his behaviour, she finds it fascinating, ‘That off quality, that uncanny quality [in my painting], I’m attracted to that because of my father.’ⁱ

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\nCartier Lucy’s paintings harbour a timeless quality, evoked by the artist’s intentionally simple and ambiguous figures, clothing and home furnishings. Of this choice, she has said ‘If I am painting shoes, they have to be very plain white sneakers or ballet shoes. High heels, for example, would take the work somewhere else. I prefer a clean slate in that sense.’ⁱⁱ In Home, we see only the simple black and beige soles of the shoes and a hint of the leather edges and straps, brandless cartons and traditional home decoration. The cool coloured walls, white panelling and narrow shard of sunlight illuminating the half of the door evoke the serene interiors of Vilhelm Hammershoi and the aerial viewpoint recalls the perspective utilised by Edgar Degas, yet these familiar qualities are disturbed by Shannon Cartier Lucy’s visceral addition of the spilled liquids and results in an altogether different experience.

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\"\" — Vilhhelm Hammershoi, *Living in Strand Street with sunshine on the* floor, 1901, Statens Museum for Kunst, Copenhagen. Image: Bridgeman Images

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Recently celebrated with her solo exhibition A stapled glass at Massimo de Carlo, Hong Kong (December 2021 through January 2022) and currently exhibiting at Massimo de Carlo, Milan with her solo exhibition The secret ingredient è la morte (19 May through 25 June 2022), Phillips are delighted to be making the artist’s first auction debut.
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\nⁱ Brienne Walsh, ‘In New Paintings, Shannon Cartier Lucy Blows The Lid Off Reality’, Forbes, 17 September 2021, online
\nⁱⁱ Osman Can Yerebakan, ‘Do Not Ignore the Gift: Shannon Cartier Lucy Interviewed by Osman Can Yerebakan,’ BOMB Magazine, 26 October 2021, online

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101

Shannon Cartier Lucy

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Shannon Cartier Lucy