Kris Walking
Kris Walking
Signed Print
Julian Opie
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Medium: Digital Print
Edition size: 60
Year: 2010
Size: H 83cm x W 52cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2019 | Dorotheum, Vienna - Austria | Kris Walking - Signed Print | |||
| March 2019 | Forum Auctions London - United Kingdom | Kris Walking - Signed Print | |||
| December 2015 | Cornette de Saint Cyr Paris - France | Kris Walking - Signed Print | |||
| April 2015 | Phillips New York - United States | Kris Walking - Signed Print | |||
| October 2013 | Phillips New York - United States | Kris Walking - Signed Print | |||
| June 2011 | Phillips New York - United States | Kris Walking - Signed Print |
Meaning & Analysis
Created with a lenticular panel so as to form a moving image, Kris Walking is a print by Julian Opie from 2011 and is typical of his full-length figurative style. This print shows a man with long dark hair walking, depicted in Opie’s structured, graphic language.
Throughout his career, Opie has produced many images of people walking in the form of static prints, paintings, sculpture, and moving images. Using photographs taken by the artist, each print is then manipulated and reduced to a matter of simplified shapes and signs to represent a figure. Producing anonymous ‘passers-by’ with which to populate his world, Opie’s figures are not devoid of personality thus maintaining a sense of individuality within multiplicity. The figure in Kris Walking is defined by his long hair and clothing and is thus reduced to a ‘type’ that prompts the viewer to think about how we relate and resemble one another.
Kris Walking is indicative of Opie’s interest in using computer technology as a key component to his work, producing a moving image through lenticular printing. Opie is interested in movement as means to differentiate between people and as a way to strike the balance between stylisation and realism in his works. The movement in this image appears far more realistic than expected, despite the fact that the figure’s form is highly stylised and so Opie presents movement itself as a form of realism.