Bidding on this item has ended.
Mark Francis
SYNCRONICITY
Lot 43
Price Realised:
€18,000
Estimate:
€15,000 - €25,000
Mark Francis, b.1962
SYNCRONICITY
Oil on canvas, 66" x 44" (167.6 x 111.7cm) signed, inscribed and dated 2008 verso.
Provenance: The Kerlin Gallery, Dublin (label verso); Christies 2010, lot 71 (label verso); Private Collection.
The painting... Read more
Lot 43
Mark Francis
SYNCRONICITY
SYNCRONICITY
Oil on canvas, 66" x 44" (167.6 x 111.7cm) signed, inscribed and dated 2008 verso.
Provenance: The Kerlin Gallery, Dublin (label verso); Christies 2010, lot 71 (label verso); Private Collection.
The painting... Read more
Lot 43
Mark Francis
SYNCRONICITY
Estimate:
€15,000 - €25,000
Mark Francis, b.1962
SYNCRONICITY
Oil on canvas, 66" x 44" (167.6 x 111.7cm) signed, inscribed and dated 2008 verso.
Provenance: The Kerlin Gallery, Dublin (label verso); Christies 2010, lot 71 (label verso); Private Collection.
The paintings of Mark Francis describe an alien world, which is all the more startling because it is very much the world we inhabit. At first glance most of his paintings might be abstract compositions but even taken on that level, they are not cool, minimalist abstracts, more often than not they have an ominous quality, as though they harbour some dark secret, which, in a way, they do.
Francis is drawn to the world beyond conventional visibility, as he has been since the late-1980s, perhaps largely due to his interest in mycology, the study of fungi. The immensity and complexity of fungal networks, recently highlighted in Merlin Sheldrake's book 'Entangled Life', clearly had an enormous impact on the artist, leading him to make paintings based on microscopic images of fungal spores. These tiny particles are fungi's asexual reproductive particles, a system also found in bacteria and algae. They led on to Francis's exploration of other aspects of reproductive processes, including human.
Underlying these agglomerations of tiny organic particles is the enveloping matrix, whether the larger organic structure or, as in the case of many fungi, vast underground networks. Francis visualises this wider matrix in terms of the grid. Conceptually, the grid in his work may signify any manifestation of networked structure, whether naturally, haphazardly occurring or calculated, as in a communications network, for example.
He has also progressively expanded his interest to incorporate the macroscopic as well as the microscopic, drawing on spectrographic analysis or the data feeds of radio telescopes as methods of visualising the remote depths of space. In every case he makes images of the world, but not the world as we normally see it.
Synchronicity originally appeared in his exceptionally strong exhibition Field in the Kerlin Gallery in 2009, a show that consolidated the role of the grid, literally and metaphorically, in his work.
Born in Newtownards, Francis studied in London and has been based there since. His work featured in Sensation, the controversial 1997 exhibition at the Royal Academy London drawn from the Saatchi collection. He has exhibited widely internationally and his work is included in numerous collections.
Aidan Dunne, November 2020
SYNCRONICITY
Oil on canvas, 66" x 44" (167.6 x 111.7cm) signed, inscribed and dated 2008 verso.
Provenance: The Kerlin Gallery, Dublin (label verso); Christies 2010, lot 71 (label verso); Private Collection.
The paintings of Mark Francis describe an alien world, which is all the more startling because it is very much the world we inhabit. At first glance most of his paintings might be abstract compositions but even taken on that level, they are not cool, minimalist abstracts, more often than not they have an ominous quality, as though they harbour some dark secret, which, in a way, they do.
Francis is drawn to the world beyond conventional visibility, as he has been since the late-1980s, perhaps largely due to his interest in mycology, the study of fungi. The immensity and complexity of fungal networks, recently highlighted in Merlin Sheldrake's book 'Entangled Life', clearly had an enormous impact on the artist, leading him to make paintings based on microscopic images of fungal spores. These tiny particles are fungi's asexual reproductive particles, a system also found in bacteria and algae. They led on to Francis's exploration of other aspects of reproductive processes, including human.
Underlying these agglomerations of tiny organic particles is the enveloping matrix, whether the larger organic structure or, as in the case of many fungi, vast underground networks. Francis visualises this wider matrix in terms of the grid. Conceptually, the grid in his work may signify any manifestation of networked structure, whether naturally, haphazardly occurring or calculated, as in a communications network, for example.
He has also progressively expanded his interest to incorporate the macroscopic as well as the microscopic, drawing on spectrographic analysis or the data feeds of radio telescopes as methods of visualising the remote depths of space. In every case he makes images of the world, but not the world as we normally see it.
Synchronicity originally appeared in his exceptionally strong exhibition Field in the Kerlin Gallery in 2009, a show that consolidated the role of the grid, literally and metaphorically, in his work.
Born in Newtownards, Francis studied in London and has been based there since. His work featured in Sensation, the controversial 1997 exhibition at the Royal Academy London drawn from the Saatchi collection. He has exhibited widely internationally and his work is included in numerous collections.
Aidan Dunne, November 2020
- Enquire
- View all lots by this artist
- How bidding works
Please note: You will require a deVeres account in order to bid. Please register via the website. Each lot will close numerically. If there is late bidding the time may be extended which could delay subsequent lots. The lots will start to close from 2.00pm on auction day, closing at 45 second intervals.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
Sign-up to our auction alert
Signup for personalised Irish art recommendations, invitations to viewings and auctions, articles and more.