Lot 228
  • 228

EDUARDO TERRAZAS | 1.1.285, from the series 'Posibilidades de una estructura', subseries 'Cosmos'

Estimate
60,000 - 80,000 USD
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Description

  • Eduardo Terrazas
  • 1.1.285, from the series 'Posibilidades de una estructura', subseries 'Cosmos'
  • signed on the reverse 
  • yarn with Campeche wax on board
  • 48 1/4 by 48 1/4 by 2 1/4 in. 122.5 by 122.5 by 6 cm.
  • Executed in 1972.

Provenance

Private Collection, Berkeley, California (gift of the artist circa 1972)
Acquired from the above by the present owner circa 2016

Condition

This work is in very good condition overall. The colors are vibrant. Each of the individual yarn threads are secure and accounted for, and the media layer is stable overall. In the upper left quadrant, two faint brown surface accretions measuring one inch each in diameter are present in the pink crescent at the base of the circle. This work is offered in its original artist's 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.
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.

Catalogue Note

"Since the 1970s, Terrazas has been refining his thinking through the project Posibilidades de una Estructura (Possibilities of a Structure), from which these new works are drawn. It is, he explains, a framework based on a circle within a square crossed by two diagonals: Cartesian forms to capture “everything that appears to you in the universe”. The permutations, which currently number about 250 but are in theory infinite, call to mind invisible forces like gravity and electromagnetism. The key ingredient, however, is colour, from lime to sky to carnation to ochre, and he keeps hundreds of skeins of yarn dyed in Italy on hand. “Colour is light and light is life. The more you use colour, the better you know colour”, he says. “As the substructure gets more elaborate, then you really begin moving things. The medium begins playing with you.” Sarah P. Hanson, The Art Newspaper, February 2018, np

 



This work is accompanied by a certificate of authenticity signed by the artist and dated Ciudad de México, 11/12/17.