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1489163

Dan Holdsworth

(United Kingdom, Born 1974)
Estimate
100 000 - 125 000 SEK
8 940 - 11 200 EUR
9 070 - 11 300 USD
Hammer price
Unsold
Covered by droit de suite

By law, the buyer will pay an artist fee for this work of art. This fee is 5% of the hammer price, or less. For more information about this law:

Sweden: BUS
Finland: Kuvasto

Purchasing info
Image rights

The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.

For condition report contact specialist
Karin Aringer
Stockholm
Karin Aringer
Specialist Photographs and Contemporary Art
+46 (0)702 63 70 57
Dan Holdsworth
(United Kingdom, Born 1974)

“Blackout #17”, 2010

Signed Dan Holdsworth and numbered 1/3 verso. C-print, 184 x 232.5 cm including frame.

Provenance

Nordin Gallery, Stockholm.

Exhibitions

Nordin Gallery, Stockholm, "Blackout", 17 March - 8 May 2011.

More information

For over 30 years, British artist Dan Holdsworth has blended art, science and nature to create works that challenge our perceptions of, and reinvent, the concept of landscape. He studied photography at the London College of Printing (1998) and has exhibited internationally at the Barbican Art Gallery, London, Tate Britain, London, and the Centre Pompidou, Paris. His work is included in the collections of the Tate Collection, the Saatchi Collection, the Denver Art Museum Collection, and the Victoria and Albert Museum, London.
Nordin Gallery, Stockholm, exhibited Holdsworth's "Blackout" series in 2011. The exhibition was described as follows: "
This is Dan Holdsworth's first exhibition in Scandinavia. Holdsworth is known for his landscape photographs where nature, architecture and technology merge with light and space to create powerful visions of the contemporary world. In Blackout, Holdsworth presents photographs taken in Iceland, a volcanic world where day is night and ice is sooty pitch. Holdsworth's negative images are literally double inversions; their black and white clarity denies all natural logic. The effect is to make the sublime modular and spectacularly tangible: glaciers are transformed with sculpted solidity, as if they could be contained in the palm of a hand, slopes bulge with the scratchy transparency of glass, containing prisms of spectral hues, and expanses of atrementaceous sky bear down, all consuming voids. The actualisation of Holdsworth's images is no less deceptive; these photographs are more reminiscent of handmade media. Their strange aesthetic, like diagrammatic etching, combines ideas of New World exploration and futurism, diving into almost pure abstraction, as illusorily textured and gestural as painting, where the terrain is perceived as a tangible geo-psyche surface, a synaesthetic confusion between sight and touch."