維 珠瑪隆

This work is in good condition overall, as is the canvas. There is minor wear and handling to the edges, but the paint layers are well-preserved and stable. Under ultraviolet light inspection there is no evidence of restoration. Unframed, on stretcher.
"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."

《石窟》表現出畫家視藝術為個人精神上近乎神聖的創作過程，但亦不可免俗地同時受到當今社會政治經濟的主宰。畫面勾畫出許多形似洞穴壁畫內常見的野獸圖像，混合在以當代藝術手法描繪的肉體當中，其中依稀可見動物的體膚（就如傑夫·昆斯的氣球狗）和人類的皮肉（比方達米恩·赫斯特的《聖母》和藝術家的自畫像）。這些史前時期的圖像水滴般續漸化成鐘乳石，而當代的那些則演變成石筍。結合起來，它們引領觀賞者的目光到洞穴的中央，漆黑無光。

使用了顯著的粉彩色，《石窟》帶領觀者見證史上第一批無名藝術家的作畫習慣，和當今個別藝術家以自己名義創作的名人文化，演繹出一場超越時空的對話。世俗的理解方式，便是那些不知不覺被創造出來的藝術品（在黑暗的一端）和那些往往成為眾人焦點的藝術品之間反覆的對話與對峙。

用脫模樹脂「鎖」在畫布上的是兩幅國際著名藝術家的畫像，正當它們涓涓流下之際卻引人聯想到天主教祭壇上常見的宗教圖像。《石窟》也點出了洞穴在古代神話裡作為聚會場所的重要性，它有如神殿一般讓神明和祖先聚首一堂。這幅畫就好像一把火炬或一盞明燈，在洞中引領觀者探索那些史前藝術家獵人們的旅程。而這些無名的藝術家和藝術品正反過來成為當代藝術市場的獵物。