The Norval Sovereign African Art Prize 2023 Benefit Auction | Hosted by Sotheby’s

Jeanne Gaigher

The Love Object

No Reserves

Lot Closed

January 31, 05:12 PM GMT

Estimate

1,000 - 1,500 USD

Lot Details

Description

Jeanne Gaigher

South Africa

b.1990

The Love Object

signed and dated 2022 (on the reverse)

acrylic, ink, dye, bookbinding mul (gauze), raw canvas, thread

140 by 110cm., 55⅛ by 43¼in.

Please be aware of the Conditions of Sale when bidding. As a benefit auction, there is no buyer’s premium charged. The only additional costs due to the winning bidder are applicable sales tax and shipping. Works auctioned are sold “as is,” and condition reports are included with lot descriptions as available. In-person previews of the auction artwork will be available at Norval Foundation at 4 Steenberg Rd, Tokai, Cape Town, 7945, South Africa from 25 January – 20 March, Monday to Sundays 9AM – 5:00PM (Closed on Tuesdays).Please note that while this auction is hosted on Sothebys.com, it is being administered by Norval Foundation (“the museum”), and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by the museum. As such, Sotheby’s will share the contact details for the winning bidders with the museum so that they may be in touch directly post-sale.

This work has been kindly donated by the artist

Multimedia artist Jeanne Gaigher uses intricately constructed figurative paintings to interrogate the body as both a situation and a consequence. The process of constructing the canvas is a highly intuitive one, involving labour-intensive practices of cutting, sewing, and ironing. The scrim (or gauze-like fabric) obstructs and shelters the bodies in her work. The layering of materials mimic layers of sediment or debris that has built up over a long period of time, conjuring a macabre topographical tapestry of the body.

The Love Object (2022) revolves around our disorientating, intimate and often cryptic relationships to the body and its terrain. In the face of a consumer culture that elicits shame around the body’s organic processes of transformation, Gaigher allows her figures to respond in unexpected and, at times, supernatural ways.