There were 46 pieces of modern and contemporary art and sculpture on the auctioneer’s block, donated by the artists themselves, or by artists’ estates, collectors and philanthropists. This was what is known as a ‘white glove’ auction, because every piece sold, and most lots sold for amounts far above the estimates. The proceeds from this auction are for charity, and to support The George Keyt Foundation, which is committed to encouraging emerging creative artists in Sri Lanka. People who registered, gave and bid generously as it was a charity auction, and to help the creative economy.
This auction superbly achieved its goal. Every part of the process was smooth and orderly, presided over by Sotheby’s world wide Co-Head, Director of Modern and Contemporary South Asian Art, auctioneer Ishrat Kanga, and facilitated by a panel of George Keyt Foundation observers led by Malaka Talwatte, on the watch for incoming bids from all parts of the crowded venue. The artworks themselves had been on display in an adjoining room for the past few days, and there had been fundraising dinners, and panel discussions illuminating various aspects of the event, in the buildup to the auction itself.
In conversation with the artists Prof Emeritus Jagath Weerasinghe, Mariah Lookman and Anoma Wijewardene, Ishrat Kanga had pointed out the significance of the ‘43 Group not only in Sri Lankan but world art, and the pride that we should all feel as a country that so many great painters and creative artists have been born and worked and found inspiration here. Sri Lanka in all its complexity is the prompt for incredible creativity, and this is now becoming clear to all, with the kind of commitment shown by the organisers of this event.
Until recently, and globally, art has been seen as exclusively the realm of the wealthy and the highly educated elite. In Sri Lanka, with its economic challenges in recent years, when basic commodities were in short supply for a large percentage of the population, the making and selling of fine art was definitely seen as a luxury and viewed by many as ‘non-essential’. Food on the table was more important than art on the walls. But an interest in making and owning art is a sign that we are not just surviving, but thriving.
So this auction was an indication of how wealthy some citizens of contemporary Sri Lanka are, and a clear sign that the art loving purchasers are willing to invest handsomely in the creative effort and enterprise of their own local artists. This interest raises the value of all the art works not only in this auction, but the wider bodies of work created by all the artists who participated, and by extension the broader artistic community.
The catalogue for this auction was beautifully designed and presented. The photographs of the artworks within its pages are vibrant, clear and detailed, and it also incorporates sections which outline the procedures involved in registering to bid, and to participate in the auction. There had clearly been a great deal of thought and dedication involved in presenting this event, and the ways in which the artworks were made visually accessible to members of the public who were first time auction attendees, or unsure of the procedure, were very effective. The young team at the welcome desk were extremely helpful, patient and professional in dealing with the attendees.
There had been great interest in several of the items prior to the commencement of bidding, and the big seller of the event, featured on the cover of the catalogue, started at 17 million LKR and sold ultimately for 24 million LKR. The bold, distinctive work of George Keyt himself, and that of the brilliant Stanley Kirinde, went for comparatively lower prices, when their renowned reputations are considered, although the prices were still substantial in relation to their initial presentation. In contrast, the works of the younger generation of contemporary artists were spiritedly bid for, and the auction brought their work into a higher platform of recognition and appreciation.
It was noticeable that the more hard hitting political pieces and the more subtle and layered works were less sought after than those presenting profusions of flowers, and splashes and explosions of bright colour. Perhaps it will take a few more auctions like this for the valuation of art in the country to expand and become more refined, to include appreciation of aspects of geopolitical history, and philosophy, on the part of the public.
For this, the younger generation must be made more aware of the rich history that is our collective legacy. Public and private art galleries are now understanding the value of educating their audience, and the whole process of viewing, interpreting, analysing and appreciating art is being made more accessible to all, although acquiring and owning the artworks is still only possible for a relative few.
The valuation of art is a subjective and subtle realm. Far more than even its monetary or market value, is the value of the effect of shape, form, texture and aesthetic impact on a person who lives with a work created by another human being. You can see a sculpture like the compelling ‘Jupiter’ by Sanjaya Geekiyanage, in diverse ways, and from multiple perspectives: the crafted face of the father of the gods, with spirals of copper emerging from his mind space, like the imagining of the cosmos itself.
Included in the value of each art work is its provenance, the multilayered story told by its form and design, the materials used by the artist to convey their insight and vision, and the details of the life of the artist who created it: what place each work holds in the overall creative landscape of each creator. This value increases over time, the more we learn and appreciate the works of the artists amongst us.
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