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Lot Essay
In 2008, multi-disciplinary artist Maria Taniguchi embarked on her signature 'brick' paintings series, now considered a fundamental part of her oeuvre. It is well-known that her 'paintings' are always exhibited on the floor and not hung on the wall as she intentionally blurs the line between the definition of a 2-dimensional (painting) and 3-dimensional work (sculpture). Thus far, notable exhibitions of her works include but are not limited to the 8th Asia Pacific Triennial of Contemporary Art in Brisbane, the 12th Gwangju Biennale, and the 21st Biennale of Sydney.
This season, Christie's is pleased to present Masks I executed in 2011 from a private collection in Asia. Masks I is one of Taniguchi's earliest monochromatic works from the series, and as such it is distinguishable as a foundational piece that retains important significance. The word 'mask' induces a sense of mystery, and suggests the existence of the unknown that in this case is intentionally hidden. It is subtly striking, as the more one engages with viewing the work from different angles, the more details are revealed. The effect of where light hits the canvas is crucial in providing the full aesthetic experience.
Across the painting, layered along the planes, are visuals of four ellipses and six irregular shapes; and within those 10 silhouettes are meticulously painted vertical 'bricks' surrounded by horizontal ones that fill the background. These individual units, reminiscent of the patterns in masonry are firstly hand drawn in pencil on an initial layer of grey paint and subsequently filled with different proportions of black pigment and water to achieve the contrasting tones throughout the work.
The choice of using one colour dates back hundreds of years, where artists like Josef Albers (1888-1976), Ad Reinhardt (1913-1967) and Agnes Martin (1912-2004) to name a few, sought to explore the potential and push the limits of formal painting by merging facets of minimalism and abstraction to divulge profundity. In essence, they theorized colour using the formula of reduction that challenged the formal teachings of creating an artwork; and instead championed conceptual representation and visual perception.
Adopting some of these features, coupled with Taniguchi's fascination with architecture and dimensionality propelled her to produce brick paintings in a large-scale format over the years. She has mentioned in past interviews that the process involves long hours which she savors as she creates a textural space that serves as a way of thinking for her, akin to a selfinterrogation. She manipulates the imagery of simplicity to pique one's mind thereby encouraging deeper analysis about what emotions and ideas can resurface from the encounter. Each work presents an intimate piece of the artist that compels a sensorial viewing, an unofficial invitation into Taniguchi's mind and world.
This season, Christie's is pleased to present Masks I executed in 2011 from a private collection in Asia. Masks I is one of Taniguchi's earliest monochromatic works from the series, and as such it is distinguishable as a foundational piece that retains important significance. The word 'mask' induces a sense of mystery, and suggests the existence of the unknown that in this case is intentionally hidden. It is subtly striking, as the more one engages with viewing the work from different angles, the more details are revealed. The effect of where light hits the canvas is crucial in providing the full aesthetic experience.
Across the painting, layered along the planes, are visuals of four ellipses and six irregular shapes; and within those 10 silhouettes are meticulously painted vertical 'bricks' surrounded by horizontal ones that fill the background. These individual units, reminiscent of the patterns in masonry are firstly hand drawn in pencil on an initial layer of grey paint and subsequently filled with different proportions of black pigment and water to achieve the contrasting tones throughout the work.
The choice of using one colour dates back hundreds of years, where artists like Josef Albers (1888-1976), Ad Reinhardt (1913-1967) and Agnes Martin (1912-2004) to name a few, sought to explore the potential and push the limits of formal painting by merging facets of minimalism and abstraction to divulge profundity. In essence, they theorized colour using the formula of reduction that challenged the formal teachings of creating an artwork; and instead championed conceptual representation and visual perception.
Adopting some of these features, coupled with Taniguchi's fascination with architecture and dimensionality propelled her to produce brick paintings in a large-scale format over the years. She has mentioned in past interviews that the process involves long hours which she savors as she creates a textural space that serves as a way of thinking for her, akin to a selfinterrogation. She manipulates the imagery of simplicity to pique one's mind thereby encouraging deeper analysis about what emotions and ideas can resurface from the encounter. Each work presents an intimate piece of the artist that compels a sensorial viewing, an unofficial invitation into Taniguchi's mind and world.