拍品 13
  • 13

喬納森·沃特瑞奇

估價
100,000 - 150,000 GBP
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招標截止

描述

  • Jonathan Wateridge
  • 《森林池中的殘骸》
  • 款識:藝術家簽名、紀年May 2007並題致 In memory of my father Alan Wateridge 22nd March 1932 – 7th May 2007
  • 油彩亞麻布
  • 185.5 x 265.7 公分;73 x 104 7/8 英寸

來源

Acquired directly from the artist by the present owner in 2007

Condition

Colour: The colour in the catalogue illustration is fairly accurate although the overall tonality is deeper and richer in the original. Condition: This work is in very good condition. Extremely close inspection in raking light reveals an unobtrusive pattern of craquelure to the layer of thickly applied varnish. No restoration is apparent when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

拍品資料及來源

Executed on an epic scale Forest Pool with Wreckage is a mesmerising example of Jonathan Wateridge’s celebrated hyper-realist Crash series. Presenting the viewer with apocalyptic scenes of crashed planes and rusting ships, these strikingly constructed images theatrically play with the sense of the familiar, injecting an element of doubt and the uncanny into their meticulously rendered vistas. The present work’s sheer monumentality envelops the viewer, drawing you into its rich and verdant jungle that takes for its source the luscious dioramas and painted backdrops of museum displays. Nestled in this prehistoric jungle is the tail of a crashed aeroplane that is entirely at odds with its environment; modern technology ensnared by and at the mercy of nature. Exploring its status as a construct, a dominant theme throughout Wateridge’s entire oeuvre, the work slowly reveals itself as fragmentary, elaborately stitched together fictions with visible seams. In doing so the viewer is invited to question notions of the real and their own relationship to it. In spite of the work’s dramatic grandeur, Forest Pool with Wreckage operates on a profoundly intimate and poignant level for Wateridge as it was painted in memory of his late father.  

To create the present work, Wateridge first produced a scale model of the scene complete with a miniature plane that he then crafted into a wreckage. Working from constructed panoramas, Wateridge’s work is reminiscent of Hiroshi Sugimoto’s monochrome diorama photographs and those of Thomas Demand. In order to heighten the sense of the ‘real,’ the artist painstakingly builds his models, composes the images and points the lighting, mapping even the merest hints of shadow. With the artist directing its composition and final format, Wateridge’s work can be seen as akin to cinematography, by drawing together the grand art historical genre of landscape painting with a contemporary interest in film.