PIERRE ALECHINSKY | Océan d'appartement

Collection Z, Brussels (acquired directly from the artist)

Rotterdam, Boijmans van Beuningen Museum; Musée d'Art Moderne de la Ville de Paris; Zürich, Kunsthaus; Darmstadt, Mathildenhöhe Darmstadt, Alechinsky, 16 November 1974 - 21 July 1975; catalogue, np., no. 7

The colours in the printed catalogue illustration are fairly accurate although the original work has a yellower tint.The work is unframed and the tape used by the artist at the time of the laid down process is visible. There is a thin layer of dust over the work. There is a tear and a wrinkle in the lower left quadrant and in the upper right corner that date back to the time the painting was executed and which are the result of the laid down process. The work is in very good condition.
"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."

Ink held a major place in the work of Pierre Alechinsky. He learned this technique at the beginning of the 50s thanks to Shiryu Morita, Yase Tabuchi, and Walasse Ting who were great calligraphy masters of that time. He created his first big ink on paper in 1957 and never stopped experimenting afterwards. This technique enabled him to carry on the formal researches that resulted in his famous “logograms” between artistic and poetic creation. In this work, the “logograms” unfold over the whole space of Océan d’appartement and create a new relationship between the fluid texture of the enantiomorph arabesques and the paper cherished by the artist for its grain and flexibility. The signs of Océan d’appartement take on a new dimension as they are drawn with the left hand –the untrained and “clumsy” one. They spread randomly, expressing thoughts in an overtly spontaneous manner, out of any rational control.