Burning Square (See No Evil) , Mandy El-Sayegh
Acrylic, pigment, joss paper and gold leaf on paper
2024
A6 (10x15cm)
Original Artwork
Signed on Verso
This auction is raising proceeds for War Child
About
Mandy El-Sayegh works across diverse media to examine how social, cultural and political orders are formed and deconstructed in the contemporary world. In large-scale paintings, table vitrines, immersive installations, performances and videos, she collages disparate fragments of information together, interrogating the ways that meaning might emerge from the relationship between these different source materials. Her works often feature newsprint, advertisements, aerial maps, anatomy books and her father's calligraphy, alongside hand-painted elements and non-traditional materials such as latex, allowing her to move between material, corporeal and linguistic frameworks. El-Sayegh describes her process as 'preoccupied with part-whole relations'. As she assembles diverse materials (or 'parts') into a realised artwork ('the whole'), she enacts a cumulative process by which meanings come into being. Motifs are often repeated across multiple works, demonstrating how the signification of information might change when placed in new contexts.
By emphasising the boundaries of her chosen medium, El-Sayegh draws attention to the systems that determine how information is categorised, contained and understood. She creates 'quasi-archives' in her table vitrines, suggesting associations and references through the objects' placement in a shared, delineated space. In her Net-Grid canvases, overpainted grids simultaneously structure and obscure the detritus of popular culture. These paintings also reference the primacy of the grid in Modernist art, which El-Sayegh found alienating: 'I felt that there was a whole set of systems that I did not know, like a joke that I didn't get'. In response, she creates 'forms [that] bring about questions of legitimate and illegitimate readings of culture and context', as well as the implicit power structures that determine who legitimises such readings.
You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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Time, Location
Auction House
Acrylic, pigment, joss paper and gold leaf on paper
2024
A6 (10x15cm)
Original Artwork
Signed on Verso
This auction is raising proceeds for War Child
About
Mandy El-Sayegh works across diverse media to examine how social, cultural and political orders are formed and deconstructed in the contemporary world. In large-scale paintings, table vitrines, immersive installations, performances and videos, she collages disparate fragments of information together, interrogating the ways that meaning might emerge from the relationship between these different source materials. Her works often feature newsprint, advertisements, aerial maps, anatomy books and her father's calligraphy, alongside hand-painted elements and non-traditional materials such as latex, allowing her to move between material, corporeal and linguistic frameworks. El-Sayegh describes her process as 'preoccupied with part-whole relations'. As she assembles diverse materials (or 'parts') into a realised artwork ('the whole'), she enacts a cumulative process by which meanings come into being. Motifs are often repeated across multiple works, demonstrating how the signification of information might change when placed in new contexts.
By emphasising the boundaries of her chosen medium, El-Sayegh draws attention to the systems that determine how information is categorised, contained and understood. She creates 'quasi-archives' in her table vitrines, suggesting associations and references through the objects' placement in a shared, delineated space. In her Net-Grid canvases, overpainted grids simultaneously structure and obscure the detritus of popular culture. These paintings also reference the primacy of the grid in Modernist art, which El-Sayegh found alienating: 'I felt that there was a whole set of systems that I did not know, like a joke that I didn't get'. In response, she creates 'forms [that] bring about questions of legitimate and illegitimate readings of culture and context', as well as the implicit power structures that determine who legitimises such readings.
You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Time, Location
Auction House
