Harold Ancart (b. 1980)
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Harold Ancart (b. 1980)

Untitled (Seascape)

Details
Harold Ancart (b. 1980)
Untitled (Seascape)
oilstick and graphite on paper, in artist's frame
52 ¾ x 70 ¾in. (133.9 x 179.7cm.)
Executed in 2014
Provenance
Xavier Hufkens, Brussels.
Acquired from the above by the present owner.
Exhibited
Brussels, Xavier Hufkens, Harold Ancart Winning Colors, 2014 (illustrated in colour, unpaged).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
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Lot Essay

Sweeping bands of tactile oil stick fill Harold Ancart’s nocturnal Untitled (Seascape). Created in 2014, this is a preternatural world where the sea glows green and shimmering clouds float blissfully through the blackened sky. Lacking in depth or terrestrial specifics, the painting nevertheless evokes a receding skyline, were Ancart’s overlapping strokes are voracious and vigorous, an excessive archaeology of black strata. The present work is part of a larger cycle, for which Ancart rotated his characteristically vertical canvases in favour of a maritime orientation. Horizons recur throughout Ancart’s practice, as both grounding forces and otherworldly demarcations; his current sculptural installation Subliminal Standard, 2019, created for New York’s Public Art Fund, draws attention to these omnipresent boundaries as seen on the city’s ubiquitous handball courts. The dividing present in Untitled (Seascape) seems similarly tellurian, but the painting conveys an otherworldly movement. It is a journey through a shapeshifting dreamworld of transmuting form; the skyline may be present, but it does little to secure reality. Indeed, although Ancart’s seascapes appear to be static images, ‘freeze-frames glimpsed from the window of a coastal train, perhaps – they assert themselves as details of a much larger picture, suggesting an irrepressible sense of movement like the ebb and flow of tides’ (K. Harriman, ‘Back and Forth with Artist Harold Ancart’, Cultured, 29 April 2019, https://www.culturedmag.com/harold-ancart/). In Untitled (Seascape) lies a portal to another world, boundless, open, elusive, infinite.

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