Carolyn Kolberg
\n紐約晚間拍賣主管暨副專家
\n+1 212 940 1206
\nCKolberg@phillips.com
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“I want to titillate the senses. I want to draw people closer. I think people aren’t used to paying much prolonged attention to paintings on walls, and I want to allow people to have more of a sensory experience. I want to draw them in so that there is the opportunity for things to open up and for them to wander.”
\n—Lucy Bull

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Diaphanous webs of vibrant color overtake the surface of Lucy Bull’s Dark Companion, 2020. Bull’s marks glitter and shift in thin gauzes of gold, coral, green, and blue, stretching and waving, threadlike, in layers of bioluminescent oils. The visual effect is somewhere between that of a Y2K desktop screensaver and the undulating fins of a deep sea creature—a tension between digital and natural, synthetic and organic associations that pervades Bull’s abstract oeuvre. The meditative canvas, open to prolonged contemplation and multivalent interpretation, gives life to the wanderings of a musing mind.

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The viewer is hypnotized as they wander throughout the work, stepping into a universe in which neither time nor space are tangible, much less linear. Bull intuitively builds juxtapositions of light and dark color, in flashes of contrast which draw the eye along the featherlight golden strokes of her paintbrush. A base layer of navy blue, nearly black, lightens into bursts of bright teal; areas of slate grey dapple into golden yellow and fluorescent orange. Lemon yellow and hot pink spark across the canvas, while touches of white and lime green patter into small crescents, like the surfing edges of waves, or scales of a glistening dark creature. Bull’s painted “companion” is all-enveloping, and the viewer is happy to be lost in its depths.

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\"\" — Max Ernst, *Profanation of the Spring*, 1945. Private Collection. Artwork: © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

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The emotional force of Dark Companion depends upon the viewer’s willingness to embrace a meditative state of extended contemplation, an effect which Bull refers to as a sort of “timed release.” In this way, Bull is inspired by her love of film, a medium that inherently depends on time for its artistic impact; just as the action of a film plays out over time, so do the visual effects of Dark Companion. “Time is everything,” Bull says. “I’ve always been jealous of filmmakers, who expect no one will leave the theater. When I’m painting, I’m always thinking about creating the same kind of psychic space that a movie does.”ⁱ

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The cosmos Bull creates calls on the legacies of Surrealist artists, such as Max Ernst, who let the processes of the unconscious mind guide their artistic practice. Surrealist painters let the paint, brush, and gesture lead the way, with as little conscious intervention as possible. Bull cites Ernst’s experience of “being a spectator to the making of his own work” as akin to her own process. “When things finally open up and click,” she says, “it feels like magic.”ⁱⁱ

\n\n

Dark Companion is a mesmerizing journey through the depths of emotion and imagination, a testament to the power of art to transport us beyond the limits of language and into the uncharted territories of the mind. Bull “makes room for both precision and abandon, inviting viewers to participate in ever-unfinished processes of creation that she choreographs but never fully controls.”ⁱⁱⁱ

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Collector’s Digest

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\n\t
Bull’s work is currently on display at The Warehouse, Dallas, in Lucy Bull: Nacar, through November 25.
\n\t
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Most recently, she had a solo exhibition at the Long Museum Shanghai, with Venus World, Jun.-Aug. 2023. Her work was also featured in the NGV Triennial at the National Gallery of Victoria, Melbourne this year.
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Bull’s paintings reside in numerous institutional collections, including MAMCO Geneva, The Museum of Contemporary Art, Los Angeles, and The Institute of Contemporary Art, Miami, among others.
\n\t

\n\n

ⁱLucy Bull, quoted in Kat Herriman, “Artist Lucy Bull Invites Others Into Her Cosmos,” Cultured Magazine, 2020, online.

\n\n

ⁱⁱBull, quoted in John Garcia, “Getting Lost in the Brushstrokes: Lucy Bull Interviewed by John Garcia,” BOMB Magazine, Apr. 26, 2021, online.

\n\n

ⁱⁱⁱ David Kordansky Gallery, “Artist Lucy Bull: Bio,” online.

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拍賣 2023年11月14日
\n東部時間下午6:00
\n

\n\n

美國紐約公園大道432號10022（地圖）
\n

\n\n

預展 2023年11月4至14日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午5:00

\n\n

（11月13日上午10:00-下午5:00）
\n

\n\n

世界精品巡展
\n

\n\n

米蘭
\n9月13至15日
\n富藝斯米蘭
\nVía Lanzone 2
\nMilano Lombardia
\nMilan, 20123
\n
\n台北
\n9月16至17日
\n富藝斯於BELLAVITA 寶麗廣塲B1《藝文空間》
\n台北市信義區松仁路28號B1
\n
\n香港
\n9月28日至10月7日
\n香港九龍西九文化區柯士甸道西8號西九文化區管理局大樓G/F
\n
\n倫敦
\n10月4至13日
\n富藝斯倫敦
\n倫敦伯克利廣場30號 W1J 6EX
\n
\n洛杉磯
\n10月21至26日
\n富藝斯洛杉磯
\n9041 Nemo St
\nLos Angeles, CA 90069
\n

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本次拍賣只限持票人士進場，詳情請傳送電郵至tickets@phillips.com查詢。
\n

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GERHARD RICHTER Abstraktes Bild, 1987

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JOAN MITCHELL Blueberry, c. 1962

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LUCIO FONTANA Concetto spaziale, Attese, 1964

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BEN SLEDSENS A second nice break, 2017

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JEFF KOONS Balloon Venus Dolni Vestonice (Magenta), 2013-17

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AMBERA WELLMANN Ritz, 2018

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CHRISTINA QUARLES Floored, 2017

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HENRY TAYLOR Government Cheese, 2003

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32

露絲·布爾

《黑暗夥伴》

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露絲·布爾