Lot 544
  • 544

LEE UFAN | Untitled

Estimate
600,000 - 800,000 HKD
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Description

  • Ufan Lee
  • Untitled
  • steel and stone
  • steel: 128 by 140 cm; 50⅜ by 55⅛ in.stone 1: 19 (H) by 29 by 30 cm; 7½ (H) by 11⅜ by 11⅞ in.stone 2: 13 (H) by 19 by 16 cm; 5⅛ (H) by 7½ by 6¼ in.
Executed in 1990

Provenance

Gallery Q, Tokyo
Acquired by the present owner from the above This work is accompanied with the artist's sketch of the work and a edition work by Quac Insik

Exhibited

Tokyo, Gallery Q, Homage to Quac Insik, 1990

Condition

This work is in good 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

Inspired by a work by Quac Insik (1919-1988), an edition of which accompanies the present lot, this sculpture by Lee Ufan was specially created for the 1990 exhibition Homage to Quac Insik in honour of one of the most innovative artists in the post-war era. Quac's most iconic works involved cutting, slicing or punctuating holes through sheets of brass, steel and copper, destroying the picture plane and freeing it from its two-dimensional restraints. Such a groundbreaking reinterpretation of form, material and substance had a profound impact on Lee, who acknowledges Quac as an important artistic mentor. In his 2011 retrospective "Lee Ufan: Marking Infinity" at the Solomon R. Guggenheim Museum in New York, Lee famously lowered a large stone onto a plate of glass, which splintered under the stone's weight – a direct reference to Quac's 1963 Work 63A, in which Quac shattered a piece of opaque glass in into two pieces. The present work, as an explicit tribute to Quac, thus encapsulates two era-defining oeuvres that broke radically from tradition to espouse a conceptual fascination with material and the humble act of encounter.