2 GD 4 U
2 GD 4 U
titled (lower margin)
acrylic, tempera and ink on paper
60.5 by 45cm., 23¾ by 17¾in.
framed: 67.2 by 51.6cm., 26½ by 20¼in.
Please note this work was not inspected outside of its frame. The paper is hinged to the mount on all four corners. The sheet exhibits a light undulation. The work appears to be in very good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Donated by the artist and Tiwani Contemporary
Michaela Yearwood-Dan’s work reflects on subjectivity and individual identity as forms of self-determination. Whilst her work may be underpinned by an expansive and multivalent repertoire of cultural signifiers borrowing freely from blackness, healing rituals, flora, texting, acrylic-nails, gold-hoops, carnival culture, these reference points enable her to present and privilege the variance of her own individual experience. As such, her work refuses to be framed by narrow expectations of racial or gendered notions of collective identity and history. She defamiliarizes many of those reference points in her work resisting the clichés and strictures of representation.
Recently the artist has been thinking about the priorities for affirming spaces of self and collective actualisation, specifically POC and queer space(s), community needs and desires, that include her own. Projected and inscribed upon the paintings, extracts of Yearwood-Dan’s experiences, influences, personal thoughts and questions commingle with abstracted and botanical gestures and marks that border, lead towards and give way to speculative clearings; spaces and gaps that have the capacity to be filled with utopic imaginings. The work remain vested in holding and debating the real-life politics and cultural demands of femme, black and queer individuals in the world coming together as communities, manifesting and nurturing critical, safe and joyous environments.