Vija Celmins’ cosmic compositions have become a principal subject within her artistic oeuvre, showcasing a photorealistic style that meticulously replicates constellations. Her starscapes, based on telescopic photographs, form part of a larger repertoire of natural subjects, including oceans, spider webs, and lunar surfaces, which she has consistently explored since the late 1960s. Divided Sky and Reverse Galaxy present emotionally evocative examples of Celmin’s intricate galaxies, void of vibrant hues. Whilst Divided Sky imitates the monochromatic details of the dark sky and gleaming stars, Reverse Galaxy transforms the composition into negative, with a pale background and ink spot stars.
“Aside from art, nature is one of the most amazing and comforting things to me ... I think of it as a place of discovery.”
—Vija Celmins
By displaying the stars in isolation, the composition negates any ties to the constraints of time and so conveys a recognition to the night sky’s endless existence. With an enduring presence throughout human history, the sky has been admired and utilised by mankind to guide navigation, serve as the backdrop to myths, and been looked to in the hopes of predicting the future. Void of any sign of life and portraying expansive, endless space, the present lot underscores the vastness of nature, prompting a contemplation of human significance. In doing so, the compositions align themselves with the motivations of 18th-century Romantic artists like Caspar David Friedrich, who spotlighted nature's awe-inspiring landscapes and magnificence over humanity.
Caspar David Friedrich, The Monk by the Sea, 1808-1810, Alte Nationalgalerie, Berlin. Image: Staatliche Museen zu Berlin, Nationalgalerie / Andres Kilger
Celmins began exploring galaxies in 1973 and her depictions have evolved across prints, paintings, and drawings, each based upon images acquired in the 1970s from the California Institute of Technology library. For the cosmic depictions within the present lot, the artist makes use of the mezzotint engraving technique. This method facilitates subtle gradations between light and shade, bringing richness to the black tones and allowing the white to glow with luminosity. The result is the creation of two rich, intricate prints that capture the magnanimity and wonder of the never-ending cosmos.
2010 One mezzotint, and one etching with drypoint, on Magnani Pescia Satinato paper, with full margins. both I. 30.1 x 21.1 cm (11 7/8 x 8 1/4 in.) both S. 41.9 x 30 cm (16 1/2 x 11 3/4 in.) Both signed and numbered 14/30 in pencil, published by Simmelink/Sukimoto Editions, Olympia, Washington, both framed.