Lot 29

Good condition overall. The use of varnish, typical for the artist, has resulted in inherent glazing flaws. These are only noticable upon close inspection. A minor piece of foreign matter has settled within the varnish layer, approx 3 x 3mm, this is determined to be inherent.


The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to inspect articles for sale at our pre-sale viewing where Leonard Joel staff are available for advice.
Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

Dale Frank: The Big Black Bubble, Anna Schwartz Gallery, 12 March– 11 April 2009

When standing before a work by Dale Frank you may find yourself entranced by its inherent dynamism and majestic qualities. Pools of resin combine to ignite all the senses - stimulating sight, touch, and smell amongst the lingering aroma of varnish. Aside from their material wonder, they also reveal a trace of the artist himself in the act of creation.
At close distance this is revealed to us in ebbs and flows, as it has been dripped and poured across the surface. The layers blend and create topographical-like circles that are more apparent the longer you spend with the work.

Frank's monochrome paintings of the 1990s and 2000s have specific male titles of which the artist notes, "[they] were always titled after sexy or cool male actors, usually with connections to films I liked, sometimes actors falling into old age, sometimes actors falling into disgrace, sometimes actors whose star has risen and fallen, actors in the Good looking Top 50 List, actors sometimes known only to a select fan base".

Whilst Frank is never opposed to contrasting colours, here in Tom Welling he transfixes us with oozing black. Much like Rothko's black paintings, the paintings are not just black. They reflect and absorb other colours from their surroundings - they alternate between slick gloss, matte and even metallic reminiscent of an oil spill. They absorb the viewer themselves making them a part of the work.

Olivia Fuller, Head of Art

Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.