signed (lower left)
acrylic on canvas
151.5 by 125.5cm., 59½ by 49½in.
framed: 156 by 130.5cm., 61½ by 51¼in.
There are scattered hairline stretcher marks in places along the edges. This excepting, the work appears to be in very good condition. Inspection under UV light reveals flecks of white fiber that appears removable but no clear signs of restoration or repair.
Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
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.
Private Collection, Asia
Acquired from the above by the present owner
"I am interested in breaking the mould of painting by subverting and interrogating the preconceived notion of the idea of beauty within the canon of painting, primarily figurative painting, and challenging the perception of aesthetics.
"Desire, longing, wonderment, strength, resilience, power, Joy and hope can be seen in the face and figures of my work. I employ thick, loose, flat and cryptic gestural brushstrokes of Acrylic paint without inhibition, fear or conformity, like the way a sculptor sculpts human figures from clay, I sculpt my figures with the brush. I describe my vibrant, boldly coloured, thickly impastoed figuration as "Infantile semi-abstraction"
"The images I create become metaphors of people's sentiments and also serve as protagonists to represent the masses and advocate for the voiceless. Not trash, but people. Not remnants, but lives - look closer and they will tell you their stories."
Ghanaian artist Isshaq Ismail is known for bold, colourful paintings that explore how the social, cultural and political attitudes and conditions of contemporary life impact identity. In a style that he describes as “infantile semi-abstraction,” Ismail paints grotesquely accentuated faces and figures in vivid impasto. Employing thick, gestural brushstrokes, the artist has described his process in sculptural terms, using his brush to manipulate paint in the same way a sculptor might shape clay. Through these striking and evocative works, he aims to subvert and interrogate canonical ideas of beauty; explore themes of desire, resilience, power and hope; and, in his own words, “represent the masses and advocate for the voiceless”.
Ismail was born in 1989 in Accra, Ghana. Since graduating from Ghanatta College of Arts and Design in 2012, he has exhibited in both his native Ghana and internationally in New York, Miami, London, Dubai and Cape Town. In 2015 and ’16, Ismail was shortlisted for the Kuenyehia Prize for Contemporary Art, and in 2016, was honoured as one of the Top 100 finalists at the Barclays L’Artelier Art Competition in Johannesburg. In 2019, he was shortlisted for the GUBA USA Influential Artist Award. Ismail currently lives and works in Accra, Ghana.