- 33
賈藹力 無題 油畫畫布 畫框 二O一二年作
估價
1,200,000 - 1,800,000 HKD
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招標截止
描述
- Jia Aili
- oil on canvas
款識
JAL，2012.2.5
JAL，2012.2.5
來源
倫敦，Haunch of Venison 畫廊
亞洲私人收藏
亞洲私人收藏
出版
〈賈藹力〉(中國成都, 四川美術出版社, 二O一O年), 83 頁
Condition
This work is generally in good condition. Please note that it was not examined under ultraviolet light.
"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."
"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."
拍品資料及來源
With his visually stunning works often implicating a tragic undertone, Jia Aili has received tremendous critical attention in recent years through his attempt to redefine the meaning of salvation and hope in the midst of modern civilisation. Beginning with his own self, Jia Aili frequently explores into the raison d’etre of the individual, reflecting the younger generation’s mentality through steely and explosive brushstrokes, and scenes set in fantastically constructed environments and amid apocalyptic ruins.
The imminence of war and destruction during his childhood in Dandong, only a river away from North Korea, form an indispensable part in the artist’s works as seen in Untitled. The painting features two limbless and bottomless figures facing each other against the backdrop of a forlorn land. Their incomparable body size and lifeless skin colours evoke a sense of repression signatory to his practice. As he once commented, “A young person like me is mentally repressed and melancholy, and I am depressed... I see no concrete contradictions in front of me, but only inchoate things.” In this work, one can also examine Jia’s skillful technique in figurative painting, marked by the fine elaborate brushstrokes on the figures, and the bold brushwork in the background. Most importantly, the gas mask on the left figure pertains to one of the most important elements representing technological advancement and inevitable protection against an unlivable environment; an aspect intimately related to the industrial growth in China during the 80s and 90s.
The imminence of war and destruction during his childhood in Dandong, only a river away from North Korea, form an indispensable part in the artist’s works as seen in Untitled. The painting features two limbless and bottomless figures facing each other against the backdrop of a forlorn land. Their incomparable body size and lifeless skin colours evoke a sense of repression signatory to his practice. As he once commented, “A young person like me is mentally repressed and melancholy, and I am depressed... I see no concrete contradictions in front of me, but only inchoate things.” In this work, one can also examine Jia’s skillful technique in figurative painting, marked by the fine elaborate brushstrokes on the figures, and the bold brushwork in the background. Most importantly, the gas mask on the left figure pertains to one of the most important elements representing technological advancement and inevitable protection against an unlivable environment; an aspect intimately related to the industrial growth in China during the 80s and 90s.