149

拍品詳情

當代藝術日拍

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倫敦

Sean Scully
B.1945
ULVA
signed, titled and dated 1993 on the reverse
oil on canvas and steel
61 by 90.7cm.; 24 by 35 5/8 in.
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來源

Edward Tyler Nahem Fine Art, New York
Acquired directly from the above by the present owner

相關資料

Majestic and sombre, Ulva, named after an island of the Inner Hebrides, embodies the successful reconciliation of abstraction and narrative that remain one of Scully’s greatest achievements. Scully describes his works as having “individual personalities and that’s why I sometimes give them the names of people or places. They anchor themselves to things outside of mere art. I’m not making mere paintings. I want them to be more than that” (the artist, cited in David Carrier, Sean Scully, 2004, p.107). In this case the title, ancient and evocative, informs our reading of the abstract shapes and lines, imbuing them with a sense of meaning and opening out a world of interpretive possibility.

Painted in 1993, Ulva sees Scully recalling his visit to the Hebridean islands off the coast of Scotland. Scully was fascinated not only by the wilderness of that remote region but by the human imprint on that wildest of landscapes. He wrote, “I was looking at and photographing ramshackle sheds, and old houses that were about to fall over. They were so beautiful, so expressive of the personalities who made them – that they were driving me crazy as we drove by them. I had to keep stopping the car and running out to look at them” (Ibid., p.27).

The shapes and colours of these buildings inform the geometry of the present work and the brilliantly dark, muted palette conjures the rough seas and nebulous beauty of the island. Scully has often spoken of his fascination with windows and the liminal position they occupy; allowing us a double experience. The canvas inset in Ulva is suggestive of a window, and yet in its material opposite to the surrounding steel, it also alludes to the inherent position of an island as an isolated, solitary world. The stark horizontals compete with the luxuriant, almost mesmeric black paint on the left of the composition, creating an energetic dynamic, one which the uniformity of Scully’s grey and black colouring seeks to reconcile.

當代藝術日拍

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倫敦