Julien Sinzogan

Acquired directly from the artist by the present owner

The paper appears to be laid down. Upon close examination, there are erased pencil marks throughout, which are artist intent. There is one 1cm horizontal crease or repaired tear on the upper half of the left edge. Otherwise this work appears to be in good condition. Please note that this work has not been examined out of its frame.
"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."

Sinzogan explores the history of slave trade in Benin: over a 400 year period from the early 1500s, Cotonou and Porto Novo were major trading posts for Portuguese vessels which exchanged goods for millions of slaves. These slave ships also unwittingly exported the Yoruba religion and culture to the New World. Here the female subject appears in the doorway of a slave ship: while Sinzogan’s use of colour suggests a supernatural quality, her solemn expression contextualizes the harsh nature of the moment.