朗奴 溫杜拿

Acquired directly from the artist

Private Collection, Singapore

The work is in good condition overall. There are indications of minor wear and handling around the edges. Examination under ultraviolet light reveals 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."

朗奴·溫杜拿對世俗攸關的主題有著無以言喻的迷戀，不論是字面上或是象徵式的，俗世在他的作品中有著無法被忽視的壓倒性存在，藉此表現了他對脫離塵世的嚮往憧憬。溫杜拿偏好描繪世俗原因，往往是渴望於塵世尋找那安逸得讓人麻木的樂土綠洲。從宗教到睡眠到家庭——溫杜拿一而再再而三把這些元素解構，以表他對停滯不前的厭惡。

不斷渴求作品概念與描繪手法上的突破，溫杜拿在每一幅新作內附加一個新元素，有時試用一個新的媒材來增強視覺性，有時在他描繪得完美無瑕的人體結構上覆蓋上更多流行圖像。與其把溫杜拿的作畫態度取向形容為他的個人聲明，不如說成是一種看開，一種放下。現代社會所吹捧的圖像﹑情緒﹑雜念﹑情感以及虛偽塑造著溫杜拿的創作模式，因為社會的善變，他作品如洪水般滔滔不絕的演化。

在這張作品中，溫杜拿的沉溺與迷戀轉向了水，扭曲它無處不在﹑賦予生命以及生活必需的本質，使其滿懷敵意。他剝奪了水的友善性質，變得不再純淨。相反地作為溶劑，溫杜拿所描繪的水自身屬性完全被溶解物支配主宰，失去了「自我」。溫杜拿透過他的《潛水》投進了一個充斥著同義反複的語言遊戲。就已《潛水》的作畫意識為例，畫中本該淹沒一切的洪水竟反過來「被」淹沒了。季風暴雨淹沒了畫家的故鄉家園，導致過百人死亡，數千人流離失所。猛烈的洪水中承載著無數的社會廢物，例如塑膠、海報和圖片等等，混濁的顏色被坑坑洼窪的商業殘渣點綴著。猶如在長年滯塞後的洪水潰堤，獲得解放的洪水毫不偏頗地到處肆虐，無人能逃過被淹沒的命運。溫杜拿在繪畫《潛水》之前曾多次表達無法抵抗的沉溺感，然而《潛水》是首件把淹溺悲劇視覺化的畫作。除了明確地繪出波浪漣漪來證明這是水中之境，他更把一個孩子「拖下水」，成為畫中犧牲者。

畫中的孩子是眾所皆知的諺語中所描述之蒙面英雄，儘管平凡純真，但仍非完美。少年英雄在洪水中掙扎，他被賦予了一個沉重的任務，在傳說中潔淨而免於醜惡的世界裡，代表對世俗運行系統土崩瓦解既恐懼又期待的矛盾心境。