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View full screen - View 1 of Lot 26. Better Pass.

Lot Closed

January 31, 05:25 PM GMT

Estimate

3,000 - 5,000 USD

Lot Details

Description

Tegene Kunbi

Ethiopian

b.1980

Better Pass


signed, titled and dated 2022 (on the reverse)

mixed media on canvas

100 by 80cm., 39⅜ by 31½in.

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 laitexier.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

For Tegene Kunbi, an abstract painter based in Berlin, cꦕolour is a vocabulary used to give voice to aspects of the artist’s Ethiopian heritage. Using toওnality, density and the rectangular grid, the artist conveys complexities within his personal experience and that of his community. The underlying structure of the paintings references the warp and weft technique which is intrinsic to Ethiopian textiles used in religious ceremonies. Kunbi’s painting process takes these textiles as both a source of inspiration and incorporates the material into the works in order to reclaim a form of spirituality.


In Better Pass (2022), the edges are a significant part of the painting. This is not unlike many African textiles and garments, where the ends are traditionally used as spaces for decoration. Kunbi us🅺es colour boldly and wildly in this work, borrowing from traditional colour palettes that originate from natural dyes alongside synthetic colours that continue to evolve as new materials flood the market. These fabrics, used in peoples’ daily lives to cover and adorn the body, become the skin of the paintings, sometimes hugging and, at other times, draping the stretcher.