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Lot 251 Property of a Private Collection, Belgium
MANJIT BAWA (1941-2008)
Untitled
Closed10 June 2010
Price Realised
GBP 67,250
More Information
Specialist note
"The image fills the picture frame as sculpture confronts the viewer with its material reality. It energizes the space within which it is seen with a mode of stillness specific to Manjit's form-making manoeuvres."
(K.B. Goel, 'Manjit Bawa', Center for Contemporary Art Annual, New Delhi, 1990-91)
Manjit Bawa (1941-2008) pared figuration to its most essential elements, giving primacy to line whilst simultaneously exploring the saturated and gem-toned hues of miniature painting. The artist's style was also inspired by his experience as a silk screen printer which saw him utilise simplified, uncluttered modes of expression. Bawa's work demonstrates a preference for form over narrative, eliminating all extraneous detail in favour of an ambiguous, horizon-less space reliant upon vivid chiaroscuro to indicate volume.
Bawa continually sourced from visual memory, artistic experience and pure imagination. Similarly, in Untitled the upward-gazing figure gathers the artist's finely graded tonalities in service of a pristine, elegant simplicity. At once capable of being both god and mortal, the partially disembodied figure provides a central focus for the viewer's meditation and defies absolute categorisation.
(K.B. Goel, 'Manjit Bawa', Center for Contemporary Art Annual, New Delhi, 1990-91)
Manjit Bawa (1941-2008) pared figuration to its most essential elements, giving primacy to line whilst simultaneously exploring the saturated and gem-toned hues of miniature painting. The artist's style was also inspired by his experience as a silk screen printer which saw him utilise simplified, uncluttered modes of expression. Bawa's work demonstrates a preference for form over narrative, eliminating all extraneous detail in favour of an ambiguous, horizon-less space reliant upon vivid chiaroscuro to indicate volume.
Bawa continually sourced from visual memory, artistic experience and pure imagination. Similarly, in Untitled the upward-gazing figure gathers the artist's finely graded tonalities in service of a pristine, elegant simplicity. At once capable of being both god and mortal, the partially disembodied figure provides a central focus for the viewer's meditation and defies absolute categorisation.