Lot 73
  • 73

SHAHZIA SIKANDER | Pathology of Suspension # 7

40,000 - 60,000 USD
100,000 USD
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  • Shahzia Sikander
  • Pathology of Suspension # 7
  • Bearing a Sikkema Jenkins & Co. label on reverse with 'Shahzia Sikander / Pathology of Suspension # 7 / 2005 / Ink and gouache on prepared paper / 77 1/2 x 51 1/2 inches (196.9 x 130.8 cm) / SS 5914' 
  • Ink and gouache on prepared paper 


Acquired from Sikkema Jenkins & Co., New York on 12 July 2005 


Philadelphia, Fabric Workshop and Museum, SWARM, 3 December 2005 – 18 March 2006
Sydney, Museum of Contemporary Art, Shahzia Sikander, 27 November 2007- 17 February 2008


M. Boulton Stroud, A. Miller, E. Lupton, and W. Smith, Swarm (Exhibition Catalogue), Fabric Workshop and Museum, Philadelphia, 2005

Catalogue Note

After completing her MFA at Rhode Island School of Design, Shahzia Sikander gained international recognition from solo exhibitions and her participation in group shows in prestigious institutions, such as MOMA New York, the Guggenheim Bilbao, as well as her involvement in the 1997 Whitney Biennial and the 54th Venice Biennale. Additionally, Sikander was the first Pakistani-born artist to be inducted in the National Academy of Design, New York, as a ‘National Academician’. Sikander engages in themes relating to the exploration of cultural and political boundaries through different media such as video, murals and animation to produce her multi-layered compositions. Sikander states, “I’m interested in taking a form, breaking it apart, and then rebuilding it. It is about transformation for me — whether it is the transformation of an image or a mark or a symbol or if it’s a transformation of a genre or transformation of a medium – but it is a very core notion that I think stabilizes my practice.”(S. Sikander, ART21, ‘Shahzia Sikander: The Last Post’, http://magazine.art21.org/2013/01/25/exclusive-shahzia-sikander-the-last-post/#.W4vnWS2ZN24).

This work on paper, from her Pathology of Suspension series, is an example of Sikander’s process of exploration as her art evolved from the academic miniature tradition. The artist’s characteristic layering and interlacing of subjects results in winged and spectral forms, which gain new significance amidst a tumble of layered interpretations of flora and fauna. These are rendered in various rates of opacity, concealing all notions of identity and gender.