Acrylic and oil on paper.
Painted surface 61 x 44 cm (24.02 x 17.32 in ) in a format of 70 x 50 cm (27.56 x 19.69 in)
Year of realization 2012
Signed on the bottom right of the piece.
Illustration published inside the book Malefic Time, 110 Katanas, page 9. Published in several languages and distributed internationally.
Painting has always seemed torn between an inward and an outward gaze: between vision and perception, between our dreams and the concrete, highly politicized conditions framing our comprehension of the world and what it might become. Today is no diﬀerent. After a period in which the medium has been dominated by process-based abstraction, the ﬁgure – and representation with it – is ascendant again. But, if the 1990s and 2000s saw artists such as John Currin distorting classical form while others, following Gerhard Richter, mimicked photography, today’s figuration displays a distinctly different character. Gone, for the most part, are the echoes of old masters; gone, too, are the blurs of photorealism. What takes their place, instead, is a highly idiosyncratic approach ﬁltered through pronounced aﬀect, comic-book and sci-ﬁ aesthetics, dreamy narratives and an eagerness to engage with our political moment without forfeiting the sensuousness of the medium.
David Geers (Sotheby's).
Her exercise required concentration and connection with her sword. And they have failed. The deadly edge of the katanas, as delicate lovers, should only have caressed her skin without tearing her. That blood gives them away. The night breeze cleans the sky. Tokyo seems unreal as on a photography, breathless. The noisy city of old is still and silent, as if fearing the passage of the White Moon on its sky. The two female figures still remain kneeling with their faces glued to the floor, as the Dead Moon slowly crosses the sky.
Malefic Time 110 Katanas