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Lot Essay
Annie Cabigting's photorealist paintings are exclusively based on documentation of iconic works by other visionary artist that inspire her, such as Francis Bacon, Frank Stella, Ad Reinhardt, Yves Klein, Barnett Newman and Mark Rothko. Cabigting researches her artworks extensively and possesses a profound understanding of art history. Combined with her immaculate painterly technique, she has developed a keen ability to intelligently subvert the existing works of other artists. However she does not engage these works in their known or realized forms, but explores their intrinsic potential: what they could have been or could possibly be.
The present lot stands out because unlike the other straight forward renditions of her later series of viewers viewing other artworks, in this work she depicts her own rendition of a Francis Bacon self-portrait . She maintains the jagged blankness where Bacon had cut out his face as a seeming gesture of personal revolt, delivering neither revelation nor criticism, at peace with Bacon's matter-of-fact self-loathing. It 's a statement spiked with irony, of how, by replicating the artwork, the artist exorcises its novelty and inevitably and its shocking appeal.
Not one to make grand pronouncements and belabored gestures, Cabigting quietly settles in the gulf that seems to divide artworks from its audience and artworks from each other, charging it with the ever-renewing power of imagination. In the process, she disrupts the skin of the usual and tilts the frame with which we view art, offering us an unhinged world constantly burnished by compelling wit and deceptively ordinary wisdom.
The present lot is undoubtedly inspired by Francis Bacon, the celebrated Irish figurative artist best known for his bold, austere, and often grotesque or nightmarish imagery. Cabigting pays homage to him, while questioning ideals of viewership and art.
The present lot stands out because unlike the other straight forward renditions of her later series of viewers viewing other artworks, in this work she depicts her own rendition of a Francis Bacon self-portrait . She maintains the jagged blankness where Bacon had cut out his face as a seeming gesture of personal revolt, delivering neither revelation nor criticism, at peace with Bacon's matter-of-fact self-loathing. It 's a statement spiked with irony, of how, by replicating the artwork, the artist exorcises its novelty and inevitably and its shocking appeal.
Not one to make grand pronouncements and belabored gestures, Cabigting quietly settles in the gulf that seems to divide artworks from its audience and artworks from each other, charging it with the ever-renewing power of imagination. In the process, she disrupts the skin of the usual and tilts the frame with which we view art, offering us an unhinged world constantly burnished by compelling wit and deceptively ordinary wisdom.
The present lot is undoubtedly inspired by Francis Bacon, the celebrated Irish figurative artist best known for his bold, austere, and often grotesque or nightmarish imagery. Cabigting pays homage to him, while questioning ideals of viewership and art.