Oscar Murillo

Stuart Shave Modern Art, London
Acquired from the above by the present owner in 2012

This work is in very good condition overall. There is evidence of light wear and handling along the edges of the canvas, which are only visible upon close inspection. The areas of impasto in the red passages are intact with evidence of minor, hairline pigment cracking. The surface textures, soft creases and areas of light rubbing are all inherent to the artist’s working method. Under Ultraviolet light inspection there is no evidence of restoration. Framed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"In most parts there is this mark making that happens with a broomstick and oil paint. I make a bunch of those canvases, fold them in half, and put them on the floor. My studio is a cradle of dust and dirt, of pollution. I don’t tidy up at the end of each production process. It’s all very much on purpose; it’s a continuous process, a machine of which I’m the catalyst. Things get moved around, I step on them, and they get contaminated. It’s not about leaving traces, it’s about letting things mature on their own." Oscar Murillo

Oscar Murillo’s artistic practice is deeply intertwined with his origins growing up in the small mountain-side town of La Paila in South East Colombia. Rather than being exposed to a traditional Western art education, Murillo appropriated his experiences from the streets, the local industry of sugar cane production as well as encounters with his family and friends, all of which have provided a strong catalyst to explore the conjunction of different materials and mediums. After moving to London, the artist encountered an entirely different culture yet remained closely linked to his origins. Cleaning office buildings at night in the city of London alongside fellow Colombians, Murillo began to incorporate the tools of his trade into his process of art production. For example, Murillo detached a broomstick from its conventional role as cleaning product, instead appropriating it as an instrument with which he could form, with some irony, winding, disorderly, tactile marks amongst the chaotic pollution of his studio floor. Often spending the nights in his studio indefatigably reading, painting, and experimenting, Murillo’s excessive working practice is somewhat reminiscent of Louise Bourgeois, in particular her Insomnia Drawings created at night time and in the early hours of dawn. In both cases, the creative output is evidence of a kind of incredible creativity fueled by wakeful anxiety.