Graphite and watercolor on handmade paper.
Size 28 x 38 cm. (11.02 x 14.96 in.).
Year of realization 2017.
Signed on the bottom right of the piece.
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)
The Loc-Nar, now the size of a giant meteor, crashes into a volcano on an unnamed world, changing a tribe of human outcasts into mutated barbarians who ravage a peaceful city. The elders desperately try to summon the last of a warrior race, the Taarakians. Taarna, a strong, beautiful, and mute Taarakian warrior maiden, arrives too late to stop the massacre and resolves to avenge the city. Her search leads to the barbarians' stronghold, where she is captured, stripped of her clothing, tortured, and left for dead. With the help of her Taarakian mount, she escapes, places her outfit back on, and confronts the barbarian leader. Though wounded, she defeats him. With Taarna readying her final attack on the Loc-Nar, it tells her not to sacrifice herself as she cannot destroy it. She does not relent, and her self-sacrifice destroys the Loc-Nar.