9. Cerith Wyn Evans | Neon Forms (after Noh XI)
150,000–200,000 USD
Details
Cerith Wyn Evans
b. 1958
Neon Forms (after Noh XI)
Edition 2/3 + 3 AP
2018-2019
White neon
76 3/8 by 20 1/2 in. (194 x 52 cm)
PROVENANCE
Courtesy of Cerith Wyn Evans and White Cube
CATALOGUE NOTE
For 30 years, Cerith Wyn Evans has explored language and its articulation in space across sculpture, installation, painting and photography. Drawing on a wide range of influences and sources — from film and music to literature and philosophy — his work finds unity in a brittle and poetic form. Born in 1958 in Wales, UK, Wyn Evans came to London in the 1970s, where he collaborated with actress Tilda Swinton and director Derek Jarman on several films and joined the circle that included choreographer Michael Clark and performer Leigh Bowery. From the 1990s, he also began to produce sculptural works, including a dazzling series of ‘Chandeliers’ (2003), which were programmed to flash on and off in morse code to transmit texts borrowed from philosophy and literature, lending gravitas to the works’ opulent, almost kitsch, appearance. In his short film Firework Text (Pasolini) (1998), a quote from the filmmaker, spelled out in pyrotechnics, fleetingly comes to life. The artist’s spectacular series ‘Neon Forms (After Noh)’ (2015–19) comprises stunning, large-scale, suspended ‘neon drawings’: curved and twisting neon tubes whose lines trace in mid-air the codified movements of traditional Japanese Noh theatre. These intricate and visually complex works challenge the notions of communication and reception that lie at the core of Wyn Evans’s practice: as he expands and reconfigures the possibilities for light and language, he sows seeds of doubt about our powers of perception, making our experience of the material world strange and new. Wyn Evans is currently showing at the Aspen Art Museum. He has had solo shows throughout the world, including most recently at Pirelli HangarBicocca, Milan, Italy (2019); Museo Tamayo, Mexico City, Mexico (2018); and Tate Britain, London, UK (2017). In 2003, he represented Wales in the first Wales Pavilion at the Venice Biennale. A work from his series ‘Neon Forms (after Noh)’ is part of the permanent collection on view at the new American Embassy in London.
For inquiries, please email us at eneckes@aspenartmuseum.org .
b. 1958
Neon Forms (after Noh XI)
Edition 2/3 + 3 AP
2018-2019
White neon
76 3/8 by 20 1/2 in. (194 x 52 cm)
PROVENANCE
Courtesy of Cerith Wyn Evans and White Cube
CATALOGUE NOTE
For 30 years, Cerith Wyn Evans has explored language and its articulation in space across sculpture, installation, painting and photography. Drawing on a wide range of influences and sources — from film and music to literature and philosophy — his work finds unity in a brittle and poetic form. Born in 1958 in Wales, UK, Wyn Evans came to London in the 1970s, where he collaborated with actress Tilda Swinton and director Derek Jarman on several films and joined the circle that included choreographer Michael Clark and performer Leigh Bowery. From the 1990s, he also began to produce sculptural works, including a dazzling series of ‘Chandeliers’ (2003), which were programmed to flash on and off in morse code to transmit texts borrowed from philosophy and literature, lending gravitas to the works’ opulent, almost kitsch, appearance. In his short film Firework Text (Pasolini) (1998), a quote from the filmmaker, spelled out in pyrotechnics, fleetingly comes to life. The artist’s spectacular series ‘Neon Forms (After Noh)’ (2015–19) comprises stunning, large-scale, suspended ‘neon drawings’: curved and twisting neon tubes whose lines trace in mid-air the codified movements of traditional Japanese Noh theatre. These intricate and visually complex works challenge the notions of communication and reception that lie at the core of Wyn Evans’s practice: as he expands and reconfigures the possibilities for light and language, he sows seeds of doubt about our powers of perception, making our experience of the material world strange and new. Wyn Evans is currently showing at the Aspen Art Museum. He has had solo shows throughout the world, including most recently at Pirelli HangarBicocca, Milan, Italy (2019); Museo Tamayo, Mexico City, Mexico (2018); and Tate Britain, London, UK (2017). In 2003, he represented Wales in the first Wales Pavilion at the Venice Biennale. A work from his series ‘Neon Forms (after Noh)’ is part of the permanent collection on view at the new American Embassy in London.
For inquiries, please email us at eneckes@aspenartmuseum.org .