One in Two, 2024
Print : pigment ink, fine art print · 66 x 80 x 3.8 cm 26 x 31.5 x 1.5 inch
$22,695
22 695 $US
One of the last works available by this artist
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Shipped from: Switzerland
Delivery to: United States , $ 349
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 24 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
66 x 80 x 3.8 cm 26 x 31.5 x 1.5 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2025 • Top Seller
Description
Hand-sculpted UV pigment print on aluminum sheet. Signed by the artist and numbered on the verso. Edition of 24.
Dimensions: Even-numbered prints are approximately 66.04 x 80.01 x 3.81 cm | 26 x 31.5 x 1.5 in (Variable)
The hand-sculpted pigment print One in Two (2024) is El Anatsui's newest project. The composition of the project was created specifically for it and comprises an enormous array of the artist's signature bottle caps in a multiplicity of shapes and colors. While Anatsui's alteration of the scale of the caps signals a further evolution in his masterful exploration of form, with two physically distinct configurations of the same printed composition, the remarkable fluidity of the artist's sculpture is extended in his printmaking for the first time.
Presentation
El Anatsui is a Ghanaian sculptor who has spent much of his achievement-packed career living and working in Nigeria. El Anatsui currently runs a very robust studio practice, situated in Nsukka, Enugu, Nigeria, and Tema, Ghana, where some of the most beautiful and touching works of art in the world today are created.
He is one of the most highly acclaimed artists in African History and foremost contemporary artists in the world.
El Anatsui uses resources typically discarded such as liquor bottle caps and cassava graters to create sculpture that defies categorisation.
His use of these materials reflects his interest in reuse, transformation, and an intrinsic desire to connect to his continent while transcending the limitations of place. His work can interrogate the history of colonialism and draw connections between consumption, waste, and the environment, but at the core is his unique formal language that distinguishes his practice.
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