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Caroline Achaintre (b.1969)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Caroline Achaintre (b.1969)

Fevver

Details
Caroline Achaintre (b.1969)
Fevver
hand tufted wool on fabric
86 5/8 x 45 ¼in. (220 x 115 cm.)
Executed in 2008
Provenance
Arcade, London.
Acquired from the above by the present owner in 2012.
Exhibited
Cologne, Mirko Mayer Gallery, Novelty, 2008.
London, Cell Project Space, Cabinet Afrique, 2009.
London, Arcade, Caroline Achaintre: Couleur Locale, 2010.
Paris, Musée d’Art moderne de la Ville de Paris, Decorum: Tapis et tapisseries d’artistes, 2013 (illustrated in colour, p. 147).
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.
VAT rate of 20% is payable on hammer price and buyer's premium
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Tessa Lord
Tessa Lord

Lot Essay

Caroline Achaintre’s arresting creations are made from hand-tufted wool. Her process involves pulling wool through the canvas from behind, the wall-hung compositions thus developing through concentrated intuition. The abstract forms of Fevver come together to create a fearsome geometric face, with brown chevronned patterning, an angular pink mouth and deep black eyes. French born Achaintre cites German Expressionism and post-war British sculpture as influences on her work: movements known for their crude aesthetics which conveyed the trauma of a wartime generation. She also draws upon early 20th Century Primitivism as practised by artists like Picasso, who incorporated imagery from tribal cultures in his art. Achaintre is interested in these periods because they present junctures between the ancient and modern, the psychological and physical, exoticism and technology. ‘My processes utilise methods associated with the applied arts,’ she says. ‘I make those choices not because of my interest in craft, but for their intense, subjective quality … Not knowing the outcome I have to plunge into the process. Interested in the field between abstraction and figuration I try to stay in the uncomfortable middle ground, the in-between.’

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