Matthew Monahan

Galerie Fons Welters, Amsterdam
Acquired directly from the above by the present owner in 2005

London, Saatchi Gallery, The Shape of Things to Come: New Sculpture, 2009, p. 409, illustrated in colour

Colour: The colours in the catalogue illustration are fairly accurate, although the top element is cooler in the original and the smaller base tends more towards a mint green. Condition: This work is in very good condition. All surface irregularities are inherent to the artist's choice of medium and working process.
"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."

 

Matthew Monahan's Tarted up for the Lions is an arresting and visually exciting example of the artist's engagement with the portrayal of the human body throughout history. Conceived in proportions that mirror the human figure this powerful work is a consummate example of the way Monahan's enigmatic pieces examine and deconstruct the methods of figurative representation, making our preconceptions of what constitutes a 'body' the quintessential subject of his work.

 

Tarted up for the Lions represents a quasi-futuristic reworking of a classical male bust, taking inspiration from the fractured forms of ancient sculptures such as the famous Bellvedere, and presenting the work as part of the same canon of idealized male beauty. In this way the bust exists as an 'artefact', albeit a false one, with a defined and recognisable precedent that is an integral part of art historical culture.

 

Despite the overt antique associations of the piece, Monahan also forcefully asserts its contemporary presence by subverting the materials of traditional sculpture. In place of the expected marble body, we are confronted with a metal reworking, further punctured by regular holes around the breastbone onto which is bolted an outer cloak of rusted steel curling around the figure. Where we might expect to find a wreath adorning the head like those of Roman Emperors, is instead an assemblage reminiscent of an aviator's helmet complete with a decorated chin-strap. Finally, the use of a pedestal to support the bust draws heavily on the accepted display of traditional sculpture, yet is itself decorated with non-descript and brutally angular appendages.

 

The plausible functionality of the indefinable shapes that cover the bust and pedestal, are secondary to our appreciation of their essential materiality. In its angular contortions we are encouraged to associate the metal with instruments of industry, at odds with the delicate delineation of muscles and facial features of the figure, and far removed from the flesh of the human body itself.  By using such a cold and unyielding material, the artist dehumanises the body and draws attention instead to the essence of its construction.