Sun, 3rd Mar 2019 12:00

Historic, Modern & Contemporary Art

 
Lot 20
 
Lot 20 - Jake Aikman (United Kingdom 1978-)

20

Jake Aikman (United Kingdom 1978-)
Veiled Distances

oil on canvas

Artwork date: 2014

(1)

150 x 210 cm

Notes:

Jake Aikman’s large-scale painting Veiled Distances presents an impression of an ethereal reality and an immediate, almost palpable sense of mystery. Like the Romantic painters of the early nineteenth century, Aikman subjects the viewer to the overwhelming magnitude of nature: its peaceful beauty, silence and powerful unpredictability. The impressive view of a remote seascape with an outcrop of land in the distance is not essentially dramatic, but more contemplative, as it evokes a feeling of the Sublime.Aikman painted Veiled Distances in early 2014 to present at the Cape Town Art Fair. This compelling work followed on from a new series of paintings he produced for his 2013 solo exhibition At the Quiet Limit, in which he first introduced views of landforms in his iconic seascapes. Aikman derives the imagery for his paintings from photographs and film stills drawn from popular media and his personal archives, particularly from his travels to remote locales including Nicaragua, Indonesia and Southern Africa. He extracts and dislocates these images from their primary origin, translating their realism into atmospheric and sensory scenes that simultaneously captivate and, despite their tranquil and serene ‘veil’, offer a challenge.

The location depicted in Veiled Distances is non-specific, geographically indistinct and cannot be physically encountered. “It is not a direct reflection of reality or painted from first-hand experience, but is experience deferred, or experience by proxy, or simply experience imagined” (2013:10)[i]. The ominous scene does not present a definitive narrative; instead the viewer is kept in suspense. The absence of human presence is intentional while the restricted colour palette adds emotional effect. The subtle variations of tone and green hues ultimately imbue the painting with a seductive grace. By revealing as little as possible, Aikman encourages the viewer to explore this scene personally, privately and on one’s own terms – “to ponder the truth of the encounter with the work and the feelings it elicits” (2013:10)[ii].

Marelize van Zyl

Sources:

[i] Teale, J. 2013. At the Quiet Limit in Van Zyl, M (ed.), 2013. Jake Aikman. At the Quiet Limit. Stellenbosch: SMAC Art Publishing, p.10.

[ii] Ibid.

Sold for R204,840
Estimated at R200,000 - R300,000


Condition Report

Minor abrasions to bottom edge, minor surface dirt.

Please note, we are not qualified conservators and these reports give our opinion as to the general condition of the works. We advise that bidders view the lots in person to satisfy themselves with the condition of prospective purchases.

 

oil on canvas

Artwork date: 2014

(1)

150 x 210 cm

Notes:

Jake Aikman’s large-scale painting Veiled Distances presents an impression of an ethereal reality and an immediate, almost palpable sense of mystery. Like the Romantic painters of the early nineteenth century, Aikman subjects the viewer to the overwhelming magnitude of nature: its peaceful beauty, silence and powerful unpredictability. The impressive view of a remote seascape with an outcrop of land in the distance is not essentially dramatic, but more contemplative, as it evokes a feeling of the Sublime.Aikman painted Veiled Distances in early 2014 to present at the Cape Town Art Fair. This compelling work followed on from a new series of paintings he produced for his 2013 solo exhibition At the Quiet Limit, in which he first introduced views of landforms in his iconic seascapes. Aikman derives the imagery for his paintings from photographs and film stills drawn from popular media and his personal archives, particularly from his travels to remote locales including Nicaragua, Indonesia and Southern Africa. He extracts and dislocates these images from their primary origin, translating their realism into atmospheric and sensory scenes that simultaneously captivate and, despite their tranquil and serene ‘veil’, offer a challenge.

The location depicted in Veiled Distances is non-specific, geographically indistinct and cannot be physically encountered. “It is not a direct reflection of reality or painted from first-hand experience, but is experience deferred, or experience by proxy, or simply experience imagined” (2013:10)[i]. The ominous scene does not present a definitive narrative; instead the viewer is kept in suspense. The absence of human presence is intentional while the restricted colour palette adds emotional effect. The subtle variations of tone and green hues ultimately imbue the painting with a seductive grace. By revealing as little as possible, Aikman encourages the viewer to explore this scene personally, privately and on one’s own terms – “to ponder the truth of the encounter with the work and the feelings it elicits” (2013:10)[ii].

Marelize van Zyl

Sources:

[i] Teale, J. 2013. At the Quiet Limit in Van Zyl, M (ed.), 2013. Jake Aikman. At the Quiet Limit. Stellenbosch: SMAC Art Publishing, p.10.

[ii] Ibid.

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Auction: Historic, Modern & Contemporary Art, Sun, 3rd Mar 2019

Aspire Art Auctions set a new bar for the market in its Autumn 19 Auction in Cape Town, with a South African auction record for its cover lot.

An early work, by international star Marlene Dumas, Love Lost (1973/4) achieved R7 283 200, more than doubling its pre-sale estimate of R3 000 000. Further successful sales included a range of paintings by Alexis Preller from across his career, and new world records for work by Jane Alexander, Simphiwe Ndzube, and Moshekwa Langa. These results further establish Aspire’s growing reputation as the discerning auction house for handling contemporary South African art.  

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