Chris Ofili

Contemporary Fine Arts, Berlin
Sale: Sotheby's, New York, Contemporary Art, 14 May 2003, Lot 317
Victoria Miro Gallery, London

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter and more vibrant, with the paper tone tending more towards cream and the red of the male figure's shirt tending more towards a fushia in the original. The illustration fails to fully convey the tonal variation of the brown hues apparent in the original. Condition: This work is in very good condition. Each sheet is attached to a backing board at intervals on the reverse with some associated undulation. All edges are deckled.
"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."

Between 1995 and 2005, Ofili experimented with free association and watercolours, creating a body of work which engaged in a ritual of self examination.  Unpredictable and fluid, each stroke of the brush dipped in the temperamental medium echoed the artist's most intimate thoughts and creative process.  Spawned from imagination and influenced by historical movements, pop-culture, and media, 'Afromuses' consists largely of anonymous male and female portraits which render a familiarity in these associations.  In 'Afrohead Couple', the stoic features contrast the spontaneous nature of watercolours, the elongated necks, jewelled attire, and ornate styling exude a regal confidence alluding to monumental ancient Greek sculpture and Egyptian tomb painting.  The couple is adorned in a similar style, but the intricacies of each design evoke oriental origin.  Ofili confronts this history of exoticism, by relating it to blackness, particularly the 'Black is Beautiful' movement of the 1960s.  Every portrait in the series is painted in an array of shades of black and brown, their soft rounded hairstyles hail the afro title which connects this series with Ofili's larger practice.  "I tend to tack afro onto something...seriously it's important to me to signify that it is a frame of mind whether it's hair, origin, or just a way of thinking about things." (Chris Ofili in an interview with Thelma Folden, Venice, 50^th Venice Biennale, British Pavilion, Within Reach, 2003).  Used as source material for his larger paintings, 'Afromuses' remained as individual sources of inspiration until a curator spotted the series on a studio visit and decided to hold a museum exhibition showcasing a major part of the series at the Harlem Museum of Art in 2005.   Since their public debut 'Afromuses' has received much critical acclaim and while Ofili no longer partakes in the daily watercolour experiment, 'Afrohead' couple represents an important epoch in the esteemed artist's career.