HUMA BHABHA | Untitled

Galerie Nathalie Obadia, Paris
Private Collection 
Acquired from the above in 2017

This sculpture is made of cork, acrylic paint, and oil stick. Paint is used to blacken parts of the sculpture and there is minimal use of oil stick. The piece was made by adhering large blocks of cork together, then carving out the detail. The upper block with the head was dislodged and has since been restored. The restoration marks are excellent and barely visible, located around the neck of the sculpture. Small amounts of cork loss is normal with such works. The pastel markings have slightly faded over time. This sculpture is in overall good condition as viewed.
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.

Poughkeepsie-based Huma Bhabha studied as a painter and then taught herself to sculpt. Raised in Karachi, Pakistan, Bhabha discovered her love of art from her mother, a talented yet little-known artist. After leaving Pakistan for the United States, Bhabha attended the Rhode Island School of Design and then Columbia University for a Masters in Fine Art. Studying classical sculpture stimulated her visions of figuration and form, resulting in a body of work that is rooted in the classical tradition. Her interest in science fiction is also apparent in her artistic output. Following Bhabha’s ground-breaking installation of two monumental sculptures, We Come in Peace and Benaam as part of the Metropolitan Museum of Art’s Roof Garden commission for 2018, Sotheby’s is pleased to offer this unique sculpture. In the inimitable style Bhabha has become renowned for, this figure is made up of a heavily textured surface, similar to the countenance of We Come in Peace. Bhabha prefers using repurposed materials such as clay, Styrofoam, wood and cork before casting her ethereal figures in bronze. “I love Styrofoam, found scraps of wood and metal and other garbage; I have used these materials in my art for a long time—maybe because I’m interested in collage and assemblage, but also because there is an element of chance in picking up these free materials that can lead to very beautiful results,” Bhabha has said. (https://news.artnet.com/art-world/huma-bhabha-met-roof-commission-1266446) The use of these unique materials is a deliberate exercise in scraping and carving an intersex form, devoid of nationalism, race or gender, her ‘rendering of gender and sexuality seeks to cut across binaries of male and female.’  (S. Jhaveri, The Roof Garden Commission: Huma Bhabha, We Come in Peace, Yale University Press, 2018, pp. 15-16)

Bhabha says all of her works speak to her, so what does this sculpture say? This multi-faceted and genderless sculpture looks back at us intensely, silently participating in the conversation, daring us to try and understand it outside of social constructs we tend to cling to, to identify forms around us. The figure offers each viewer an opportunity at a unique and abstract observation. “If they wish, viewers can make up their own story,” explains Bhabha. “My objective is to give life, personality, and power to the sculptures, so they become something or someone… I don’t believe in borders or nationalism.” (https://www.vanityfair.com/london/2018/10/huma-bhabha-artist-profile)