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UNTITLED

FARHAT ALI

UNTITLED , 2018 (Painted)

Lot #69 | 2020-03-16 | Sotheby's, New York
Modern & Contemporary South Asian Art


Category:

Works on Paper

Estimate:

USD 800 - 1,200 (currency of sale)

Price Sold:

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Auction Details
Auction house: Sotheby's
Auction number: N10333
Auction name: Modern & Contemporary South Asian Art
Auction type: Fine Art
Location: New York
Start date: 2020-03-16
Currency: USD
Source: Login to view
Lot Description
Details
Genre: Contemporary Art
Department: Painting & Works on Paper
Dimensions: 13 ⅜ x 10 ⅜ in.
Item measurements:
Height In Centimeters: 33.9
Width In Centimeters: 26.3
Height In Inches: 13.375
Width In Inches: 10.375
Year notes: Painted in 2018.
Provenance
Acquired directly from the artist in 2018- 19 Catalogue note Farhat Ali is a contemporary artist from Badin in Sindh. He started his career as a billboard painter followed by a formal education at the Centre of Excellence in Art and Design at Jamshoro and subsequently the National College of Arts Lahore, from where he graduated in 2015. Using the quintessentially miniature format from the sub-continent, Ali juxtaposes contrasting characters from different narratives on to one plane. The themes addressed are from history, fiction and contemporary pop and charged with tongue-in-cheek humor. In the current lot, we witness a coy nayika offering a flower to the evil Felonius Gru, the main character from the Despicable Me movies. “Worked in gouache on wasli the paintings are layered with meaning and technical artistry which prompts inquiry but the witty encounters between Mughal royalty (of miniature art) and contemporary cartoon characters are pure entertainment.” (S. Ali, ‘Art Fiend: Getting There,’ DAWN, 6 September 2015, https://www.dawn.com/news/1204489 ) Ali shot to fame with his first solo exhibition titled “How did I get here?” (2015). ‘Beyond the immediate element of humor, the improbable encounters and liaisons between the protagonists spark debate on their implausibility. By “disrupting” how we understand something, we are more likely to question its fundamental existence and Ali’s cameos provoke inquiry on several issues. The most obvious inconsistency is the East West variance. His comic approach diffuses the inevitable clash of civilizations between a classical 15th century South Asian era and contemporary Western society. He creates interactive moments between his characters without either losing his or her cultural identity.’ ( ibid .)
Catalog summary
PROPERTY OF A GENTLEMAN FARHAT ALI b. 1988 UNTITLED Ink and gouache on wasli laid on card Signed and dated in Urdu lower right 13 ⅜ x 10 ⅜ in. (33.9 x 26.3 cm.) Painted in 2018 Provenance Acquired directly from the artist in 2018- 19 Catalogue note Farhat Ali is a contemporary artist from Badin in Sindh. He started his career as a billboard painter followed by a formal education at the Centre of Excellence in Art and Design at Jamshoro and subsequently the National College of Arts Lahore, from where he graduated in 2015. Using the quintessentially miniature format from the sub-continent, Ali juxtaposes contrasting characters from different narratives on to one plane. The themes addressed are from history, fiction and contemporary pop and charged with tongue-in-cheek humor. In the current lot, we witness a coy nayika offering a flower to the evil Felonius Gru, the main character from the Despicable Me movies. “Worked in gouache on wasli the paintings are layered with meaning and technical artistry which prompts inquiry but the witty encounters between Mughal royalty (of miniature art) and contemporary cartoon characters are pure entertainment.” (S. Ali, ‘Art Fiend: Getting There,’ DAWN, 6 September 2015, https://www.dawn.com/news/1204489 ) Ali shot to fame with his first solo exhibition titled “How did I get here?” (2015). ‘Beyond the immediate element of humor, the improbable encounters and liaisons between the protagonists spark debate on their implausibility. By “disrupting” how we understand something, we are more likely to question its fundamental existence and Ali’s cameos provoke inquiry on several issues. The most obvious inconsistency is the East West variance. His comic approach diffuses the inevitable clash of civilizations between a classical 15th century South Asian era and contemporary Western society. He creates interactive moments between his characters without either losing his or her cultural identity.’ ( ibid .)
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