Watching Suzanne (front) 2
Watching Suzanne (front) 2
Signed Mixed Media
Julian Opie
£2,250-£3,350
$4,500-$6,500 Value Indicator
$4,100-$6,000 Value Indicator
¥21,000-¥30,000 Value Indicator
€2,700-€4,050 Value Indicator
$22,000-$35,000 Value Indicator
¥440,000-¥650,000 Value Indicator
$2,850-$4,250 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Mixed Media
Edition size: 25
Year: 2006
Size: H 83cm x W 56cmx D 3cm
Signed: Yes
Format: Signed Mixed Media
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Bonhams New Bond Street | United Kingdom | |||
| December 2022 | Bonhams Knightsbridge | United Kingdom | |||
| November 2015 | Bonhams New Bond Street | United Kingdom |
Meaning & Analysis
Rendered in the artist’s universally recognisable style, Watching Suzanne (front) 2 is a print from Julian Opie’s Watching Suzanne series. The print features a dramatically cropped image of a woman’s torso and thighs as viewed from the front, wearing only her underwear. The image is depicted exclusively in black and white and very thick lines.
Opie’s interest in the human body explores the tension between general and specific reality, transforming individual subjects into universal signs so as to interrogate the genre of life drawing itself. Speaking of his desire to go beyond the traditional boundaries of art and art history Opie has said, “Our attitude towards art history, towards schools, styles and ‘isms’, was quite aggressive. We wanted to manipulate them, to use whatever style we wished.”
Watching Suzanne (front) 2 is representative of Opie’s interest in the human form that he extends into the realm of moving images and animations. When considered side by side, the 20 images from this series create an animation made up of individual still images. Opie shows the figure moving her hips from side to side then turning to face away from the viewer. The intense cropping of each image alludes to this notion of a snapshot in time, as opposed to providing the viewer with an entire storyline.
