Wifredo
Lam

This painting achieved Lam's current auction record when it sold at Sotheby's New York in June 2020, after inclusion in private collections and exhibitions in Havana, Washington, Paris, Madrid, and Barcelona. It was created during a critical period after Lam's return to Cuba from Europe after two decades away, in the same year as La Jungla (1942-43) (now in MoMA's permanent collection). Omi Obini (which means “woman” in the Yoruba language) (1943), depicts interwoven hybrid figures that combine human, animal, and plant elements against a vibrant, colourful background reminiscent of the lush tropical landscape of Cuba. As Lam later explained: “My return to Cuba meant, above all, a great stimulation of my imagination, as well as the exteriorisation of my world. I responded always to the presence of factors which emanated from our history and our geography, tropical flowers, and black culture.” Lam wanted to “act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters.”

This substantial 2.2 metre oil painting sold at Sotheby's Paris in December 2017, out of the collection of Alain and Candice Fraiberger. Trois Centimètres De La Terre (1962) showcases Lam's seemingly effortless handling of line and form through a complex composition of abstracted, angular figures. The figures, being conjoined in places and similar in size and shape, are possibly iterations of the same figure moving through time - a visual representation of spiritual transformation. The title itself (Three Centimetres From Earth) reinforces this concept, suggesting a liminal space between the earthly and spiritual realms, a common theme in Lam's work that reflects the Santería belief in the interconnectedness of the physical and supernatural worlds. Throughout the composition, there is a deliberate tension between Lam's abstraction and his figuration, with each approach seeming to obscure the intent of the other, creating a visual puzzle. This sophisticated interplay demonstrates the artistic maturity Lam had achieved by this period, reflecting his continued exploration of Afro-Cuban spirituality and his ongoing development of a distinctive fusion of European Modernist techniques with Caribbean cultural references.

This work from 1944 achieved $1 million above its high estimate at Sotheby's New York in May 2012. The work is rich in Afro-Cuban religious iconography, specifically referencing Oya, the Santería deity associated with winds, lightning, and guarding the gates between life and death. It combines oil and charcoal techniques to create a mysterious, spectral finish - but with strikingly prominent eyes - that embodies the liminal nature of the deity it represents. Having spent several years reconnecting with the cultural heritage of his homeland following his return from Europe, Lam was particularly interested in how the spiritual traditions of Santería and Afro-Cuban religions had preserved African cultural elements despite the brutal history of slavery and colonisation. The painting's exhibition history is particularly notable, having been shown at numerous prestigious institutions, including MoMA, the Hirshhorn Museum in Washington D.C., the Palais des Papes in Avignon in 1947, and the Hayward Gallery in London.