Untitled
signed and dated 'Joy 2018 Joy Labinjo 2018 joy' on the reverse oil, acrylic and household paint on canvas 145 x 195 cm (57 1/8 x 76 3/4 in.) Executed in 2018. A portion of the seller’s proceeds of sale for this lot will benefit the South London Gallery, Peckham.
'There's also a real ambiguity of place — there are colours, motifs or clothing that might offer hints, but nothing that anchors the work anywhere.' —Mahoro SewardGraduating from her BFA at the University of Newcastle in 2017, Labinjo was awarded the prestigious Woon Art Prize that same year, granting her a 12-months studio space in the Woon Tai Jee studio at BALTIC 39 in Newcastle. Only a year later, she would be bestowed her first monographic exhibition — which spurred another three that same year — including Recollections, in which the present work was displayed. During this time, Labinjo was working from photographs. She would begin flicking through a family photo album, only to select and scan one or multiple photographs, subsequently cropping and layering areas of interest. In Untitled, this process of looking, absorbing and editing translates into a fragmented aesthetic, whereby colours shift, spaces expand or diminish, planes seem interlaced as opposed to clearly demarcated. ‘Photographs were the starting point’, Labinjo explained, ‘but I was never aiming to replicate the photograph. It was about finding ways to create a new image, a new environment’.2 A striking example of painterly prowess, Untitled seems to layer a number of discrete elements and weave them into a single, uniquely evocative atmosphere. It gives as much importance to the two depicted characters as it does to the lush plants hoisting vertically to their left; an image of foliage that recalls Jonas Wood’s green interior scenes. In Inglewood Listing of 2019, Wood imparts the interior scene's bustling greenery with a sense of life that seems to challenge the still life genre - similarly, in Untitled Labinjo makes the presence of her plants transcend mere decorativeness; they transform into cultural tokens that suggest a life of their own.
Untitled
signed and dated 'Joy 2018 Joy Labinjo 2018 joy' on the reverse oil, acrylic and household paint on canvas 145 x 195 cm (57 1/8 x 76 3/4 in.) Executed in 2018. A portion of the seller’s proceeds of sale for this lot will benefit the South London Gallery, Peckham.
'There's also a real ambiguity of place — there are colours, motifs or clothing that might offer hints, but nothing that anchors the work anywhere.' —Mahoro SewardGraduating from her BFA at the University of Newcastle in 2017, Labinjo was awarded the prestigious Woon Art Prize that same year, granting her a 12-months studio space in the Woon Tai Jee studio at BALTIC 39 in Newcastle. Only a year later, she would be bestowed her first monographic exhibition — which spurred another three that same year — including Recollections, in which the present work was displayed. During this time, Labinjo was working from photographs. She would begin flicking through a family photo album, only to select and scan one or multiple photographs, subsequently cropping and layering areas of interest. In Untitled, this process of looking, absorbing and editing translates into a fragmented aesthetic, whereby colours shift, spaces expand or diminish, planes seem interlaced as opposed to clearly demarcated. ‘Photographs were the starting point’, Labinjo explained, ‘but I was never aiming to replicate the photograph. It was about finding ways to create a new image, a new environment’.2 A striking example of painterly prowess, Untitled seems to layer a number of discrete elements and weave them into a single, uniquely evocative atmosphere. It gives as much importance to the two depicted characters as it does to the lush plants hoisting vertically to their left; an image of foliage that recalls Jonas Wood’s green interior scenes. In Inglewood Listing of 2019, Wood imparts the interior scene's bustling greenery with a sense of life that seems to challenge the still life genre - similarly, in Untitled Labinjo makes the presence of her plants transcend mere decorativeness; they transform into cultural tokens that suggest a life of their own.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
