Ahmed Alsoudani

Goff + Rosenthal, New York
Acquired directly from the above by the present owner in 2009

Berlin, Goff + Rosenthal, Ahmed Alsoudani: New Drawings, 2009

Colour: The colours in the catalogue illustration are fairly accurate, although the paper tone tends more towards a rich cream and the blue is greener in tone in the original. Condition: This work is in very good condition. The sheet is attached to a backing board in several places on the reverse. There are artist's pin holes along all four edges. There are scattered artist's handling marks in places.
"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."

Ahmed Alsoudani’s turbulent work on paper, Untitled (Blue Wave)is a dramatic tableau that epitomizes the artist’s continuing dialogue with scenes of tragedy and violence. A swirling mass of intensely drawn figures dominates this imposing composition, and forms an exquisite and rare example of one of the artist’s almost entirely monochromatic graphic compositions.  Unencumbered by the dominance of painted colour in his previous works , the figures here are given ferocity and life through the artist’s superb range of deft mark-making which beautifully conveys  urgency and power in the taut, writhing limbs.

The artist’s personal experience of war and exile has unequivocally defined his artistic career, yet he removes the focus of his works from specific atrocity by preferring to leave them untitled.  By doing this Alsoudani absolves his creations of the responsibility of narrative, allowing the works to communicate the universal horror of violence and disaster. In this instance fear and terror are exemplified through the flashes of wrought emotion on the faces of the bestial figures that swarm the paper, while the blue expanse of a ‘wave’ threatens to engulf the scene and forms the sole interruption in this theatre of rhythmic tumbling bodies. The work also conveys Alsoudani’s pain at being removed from his homeland:  ‘I was watching television and Baghdad, the city where I grew up was burning in front of my eyes…and I couldn’t do anything. Emotionally I was right there but physically I was helpless.’ (Alsoudani, quoted in R. Goff, 'Ahmed Alsoudani in Conversation with Robert Goff', pp. 59-62, Ahmed Alsoudani, exh. cat., New York, 2009, p. 61) The artist’s inner torment and unresolved tension between his two worlds  is demonstrated through  twisting perspective of the entwined figures.  The viewer’s eye is tossed amongst the dynamic forms, restlessly seeking solace through recognising a familiar form, yet being perpetually denied a resolution and left to flounder like the abstracted figures that define this work.