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John Chamberlain
Untitled Self-Portrait

2006

$120,000
£91,149.81
€105,035.48
CA$168,989.72
A$187,350.09
CHF 98,459.78
MX$2,292,857.88
NOK 1,229,662.59
SEK 1,154,161.38
DKK 784,024.63

About the Item

JOHN CHAMBERLAIN Untitled Self-Portrait, 2006 Digital monoprint on canvas, mounted on wood. Unsigned. W 36” x H 90 1⁄2" Chamberlain began to explore photography in the late 1960s, but it wasn’t until 1977 when fellow American sculptor Larry Bell gifted him a Widelux camera, that Chamberlain hit upon a device that would offer the cinematic properties of film with the portability of a camera. In the last decade of his life, Chamberlain further challenged artistic conventions with early experimentations in digital manipulation of photography. In the mid-2000’s, through a combination of stretching, cutting, filtering, and colorizing, Chamberlain created collaged large-scale prints on canvas. The results were stretched canvas panels, showcasing a succession of highly processed images of Chamberlain himself, along with family, friends, art dealers, and his favorite locations including Paris and inside his studio. This untitled self-portrait pulls from a series of Widelux photography captured by the artist in Paris between 1987 and 2006, and transformed into large inks on canvas, recognizable by his innovative technique to stretch the image to reinterpret form, light, color, and time. Chamberlain captures his own face, turned slightly away from the camera, with an elongated neck. He manipulated the image to emphasize vibrant yellow and pink hues, infusing the ink on canvas with warmth and energy. Through both the unique technique with the widelux camera and his subsequent manipulation of his self portrait, Chamberlain offers a glimpse into the inner workings of his artistic vision through this ink on canvas work. Chamberlain’s photography and subsequent inks on canvas mirror themes present in his sculptures, hinging on compression and expansion. At once, both mediums offer a distinct expression of Chamberlain as an artist as well as a lens through which to read his entire body of work.

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