This Is Shahnoza In 3 Parts 9
This Is Shahnoza In 3 Parts 9
Signed Mixed Media
Julian Opie
£19,000-£29,000
$35,000-$60,000 Value Indicator
$30,000-$50,000 Value Indicator
¥170,000-¥260,000 Value Indicator
€22,000-€35,000 Value Indicator
$190,000-$280,000 Value Indicator
¥3,620,000-¥5,520,000 Value Indicator
$24,000-$35,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Mixed Media
Edition size: 30
Year: 2008
Size: H 121cm x W 115cmx D 4cm
Signed: Yes
Format: Signed Mixed Media
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| January 2016 | Phillips London - United Kingdom | This Is Shahnoza In 3 Parts 9 - Signed Mixed Media | |||
| September 2010 | Sotheby's Online - United Kingdom | This Is Shahnoza In 3 Parts 9 - Signed Mixed Media |
Meaning & Analysis
The final print of Julian Opie’s This Is Shahnoza collection, This Is Shahnoza In 3 Parts 9 shows an image of a female model leaning backwards on to her forearms, with her legs crossed in the air. In partitioning the image into three parts, the viewer compartmentalises the figure’s body and Opie makes the viewer question how we might sexualise and fragment the female form.
This Is Shahnoza In 3 Parts 9 is rendered in Opie’s trademark linear style, showing the figure with a blank circle as a head, and her feet cut off, showing only straps for shoes. Opie’s images of people engage with longstanding ideas that have characterised art history by questioning what intrinsic elements are needed to convey a narrative or person’s character. However, Opie turns this tradition in art history by explicitly citing the model as a professional pole dancer.
Drawing from the choreography, gestures and typical iconography of strip shows and catwalks, throughout the series Opie depicts the figure in a range of dynamic and theatrical poses that effectively catch the viewer’s attention. In reducing the figure to a ‘type’ rather than depicting a recognisable individual, Opie succinctly conveys the way in which seemingly natural human behaviour is made up of learned performance codes.
