Shara Hughes Value: Top Prices Paid At Auction

In 2022, Hughes' Spins From Swiss (2017) emerged as a record-breaking masterpiece, capturing the spotlight at Christie's auction. This monumental piece signifies Hughes' venture into landscape painting, showcasing her artistic evolution and skill. Hughes expresses her fascination with reinterpreting art history through her unique lens, evident in Spins From Swiss. Through the vibrant fauvist colours, the painting transports viewers to captivating canyons adorned with cascading waterfalls. It serves as a testament to Hughes' mastery of colour, form, and the awe-inspiring beauty of nature, captivating audiences with its mesmerising allure. Achieving £2.3 million at Christie's, this work solidifies Hughes' stature as an artist of remarkable vision and value.

Naked Lady (2019) enchants viewers with its vibrant, kaleidoscopic landscape, seamlessly blending reality with surrealism. Central to the artwork is an exaggerated flower, its majestic allure commanding attention. Hughes approaches the interpretation of flowers akin to Yayoi Kusama's Flowers series, evoking elegance with exaggerated blooms infused with dynamic energy and enigmatic charm, exploring the intricacies of the human psyche. Naked Lady underscores Hughes' profound artistic vision, offering a contemporary reimagining of traditional genres, inviting viewers into a dreamlike realm where reality and imagination joyfully intertwine. This work sold for just over £2 million (with fees) in March 2022.

Ignoring the Present (2018) reveals a mesmerising seascape framed by sinuous trees adorned with swirling and vibrant dots. Speaking on her own aesthetic, Hughes attempts to illustrate how intricate patterns mask underlying anxieties, resulting in compositions oscillating between beauty and the grotesque. Notably, Ignoring The Present exudes a subtle disquiet, initially veiled by radiant colours but unveiled upon closer scrutiny. As we immerse ourselves in the hypnotic world of coloured dots, we ponder the inherent dualities and uncertainties within the artwork. This visually stimulating and energetically abstract style resonates with Kusama's infinity compositions and realised a £1.3 million (with fees) at Sotheby's in March 2022.

In The Not Dark Dark Spots (2017), Hughes expertly employs blending techniques, wielding her paintbrush to create a hypnotic effect. The canvas comes alive with a radiant rainbow reflection on the water, skilfully capturing the sun's glow on the glistening ripples, evoking a tranquil sense reminiscent of a serene sunset. Hughes' artistic prowess shines through her remarkable technique and unconventional use of materials, such as squeezing paint directly onto the canvas, infusing her works with dynamic energy. The sam aesthetic echoes the spirit of Howard Hodgkin's work, known for its tropical ambiance and vivid colour techniques. Achieving auction success, The Not Dark Dark Spots sold for £1.3 million (with fees) at Phillips in May 2022.

In New Moon Voodoo (2017), Hughes employs abstract splotches to portray grass, trees, and the sky, employing sinuous traces, cross-hatching, and pointillist techniques. Hughes herself expresses surprise when familiar imagery or landscapes emerges from her abstract beginnings, leading to unexpected results. Her skilful use of colour and technique parallels David Hockney's The Arrival of Spring series, despite the differing mediums. Both artists capture landscapes and their fleeting moments, forging a connection through their artistry. New Moon Voodoo realised £1.2 million with fees in November 2022.

In an interview with the Brooklyn Rail, Alex Jones eloquently captures Hughes' unique artistic approach, noting her talent for injecting uncertainty into traditional landscape subjects. Hughes' Inside Outside (2018) beckons viewers into an experimental realm of multiple perspectives, intriguing uncertainties and fragmented forms. Inside Outside achieved just over £1 million with fees at Phillips in November 2021.

Tipsy (2016) emerges as a truly unique artwork, drawing inspiration from a fusion of techniques pioneered by modern masters. This work also skilfully channels Hodgkin's abstract colour palette and recurring palm tree motif while embracing Kusama's surreal, larger-than-life elements. The transformed palm trees seem to sway under an unseen desert breeze, hinted at by the evocative hues. Despite its recognisable imagery, Tipsy defies easy categorisation, purposefully evoking a sense of placelessness. This invites viewers to contemplate its location and hypothetical world, offering them creative agency in interpreting its meaning. Its magnetic appeal was evident at Sotheby's Hong Kong in April 2022, where it commanded just over £1 million (with fees).

It's Not My Jungle I'm Just Living In It (2017) presents a vibrant tableau, a testament to Hughes' mastery in exploring landscapes. Richly hued expanses define the sky, ocean, orange sand, and red mountain peaks, while abstracted palm trees and foliage captivate below, hinting at an entrance to an uncharted realm. Hughes expertly introduces recognisable imagery without tethering it to a specific time or place, unfurling a world of boundless possibilities. The title's ambiguity underscores this, inviting viewers to navigate a landscape beyond conventional comprehension. This work sold at Christie’s in December 2021, fetching £949,924 (with fees) and is one of Hughe's top performing works.

Weeping Blur (2018) introduces a luminous cascade of colours reminiscent of Helen Frankenthaler's emotive soak-stain technique. Hughes demonstrates abstract prowess, crafting layers of colour with meticulous brushwork and intricate patterns, evoking depth and scale. Each hue breathes life into an enchanting tapestry, weaving together forms and an immersive universe. The interplay of brushstrokes and patterns adds complexity, drawing viewers deeper into the artwork's allure. Sold at Christie's in May 2022, the painting fetched £926,817 (with fees), a testament to Hughes' technical brilliance.

In Night Picket (2017), Hughes mesmerises with a midnight palette, blues and teals shimmering under the full moon's golden glow. Her technique, reminiscent of the Fauvists, blends colours to evoke both familiarity and unease. Amidst uncertainty, the canvas captivates, inviting exploration. This blend of recognition and ambiguity characterises Hughes' finesse. At Phillips in October 2021, Night Picket fetched £869,500 (with fees), affirming its place among Hughes' top-selling works.