- 647
Liu Wei
Description
- Liu Wei
- Swimming No. 2
- oil on canvas
Provenance
Acquired by the present owner from the above
Literature
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
1995 was one of the most crucial years in Liu’s artistic career. At that time, Political Pop was an important symbol of contemporary Chinese art in overseas exhibitions. Having attracted international attention, Political Pop became a popular trend. At this juncture, Liu Wei chose to depart from his early style of strong political colour, typified by his Revolutionary Family Series. His painting language became more cynical and willful, divorcing himself completely from the realist style prevalent at the academic level; his brush became a conduit for feeling. Beginning with the Meat series, Liu’s subject matter began to ignore all social constraints, challenging the viewers’ acceptances, as well as their conventional ways of looking at art. Swimming No.2 is representative of this crucial period. The focus of the piece is the two swimmers, a further rendering of one of Liu’s significant early period motifs. However, the brushwork is quite unlike the meticulous style of his early years, now more relaxed and carefree. By using this thicker brush-style to depict the figures and the surface of the water, Liu achieves an intensity of feeling and emotion throughout the work. In fact, Liu himself once said; “painting needs feeling, it should capture your heart. As long as your heart is lively and vivacious, then you can capture the freshness of creativity, and forever imbue this into your work.” 2 With its brash, aggressive style the Swimming No. 2 expertly displays the correlation between human desire and human nature. Indeed, Liu’s figures in the series, though varied and diverse, are all rendered with the most primitive of countenances.
1 Fang Lijun, Culture And Art Publishing House, Beijing, China, 2010, p. 45
2 Liu Wei, Red Bridge Gallery, p. 7