Lot 50
  • 50

Katja Strunz

Estimate
6,000 - 8,000 GBP
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Description

  • Katja Strunz
  • This Beech #2
  • painted wood
  • 220 by 33 by 23 cm. 86 5/8 by 13 by 9 in.
  • Executed in 2001.

Provenance

Galerie Giti Nourbakhsch, Berlin
Acquired from the above by the present owner in 2004

Condition

Colour: The colours in the catalogue illustration are fairly accurate. Condition: This work is in very good condition. Visible only upon extremely close inspection is a shallow scratch towards the upper centre of the composition and some light wear to the lower right extreme outer edge. No restoration is apparent when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

German artist Katja Strunz’s minimalist sculptures explore the relationship between space, time and history. Born in 1970 and based in Berlin, her works hint at a preoccupation with constructivism. As the artist once stated: “My works do not just draw from constructivism, I myself see them as constructivist” (Katja Strunz cited in: Sigrun Hellmich, ‘Katja Strunz: The Folds of Time and Space’, Goethe-Institut e. V., August 2013, online).

Executed in 2001, This Beech #2 is fabricated from painted wood like many of Strunz’s wall and room installations. Indeed one of the predominant characteristics of her works is the deployment of materials that have been affected by the passage of time. The present work in particular represents an emblem of the artist’s vision in which the inertness of the material and the gravity of history both merge and emerge simultaneously.