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Wade Guyton (B. 1972)

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Wade Guyton (B. 1972)

Untitled

Details
Wade Guyton (B. 1972) Untitled signed and dated 'Wade Guyton 09' (on the reverse) Epson UltraChrome Inkjet on canvas 36 x 25in. (91.5 x 63.5cm.) Executed in 2009
Provenance
Galerie Francesca Pia, Zurich.
Acquired from the above by the present owner in 2010.
Special Notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Lot Essay

‘I’ve become interested in when something starts as an accident and then becomes a template for other things, or reproduces itself and generates its own logic until something else intervenes to change it.' WADE GUYTON

A horizontal system of monochrome striations streams across the surface of a canvas in Wade Guyton’s untitled work, resonating with the avant-garde linearity of modernist abstraction whilst exploring contemporary methods of digital reproduction and technological dependence. Printed onto a vertical canvas, which Guyton manually tugs through the rollers of an Epsom Inkjet printer, Untitled presents five strips of jet-black, manifested in a variable range of widths, at once hypnotic and imposing. The printer is an unreliable narrator, producing unexpected disturbances, mutations and mistakes. In a fascinating dichotomy between human intent and mechanic disturbance, Guyton allows the fallible manipulations of the printer – mis-registrations, distortions and smudges – to intercede, creating a tension between artist, material and technology. In a world dominated by technological automation, Guyton challenges the essentiality of idiosyncratic authorial control, whilst generating and emphasising the creative possibilities of the machine.

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