高瑀 邪路 丙烯布面裱鋁板 畫框 二O一三年作

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"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."

如果說安迪·沃霍爾真正成就了波普文化，並實現了藝術與商業的完美結合；村上隆將日本的超扁平繪畫推向世界，並開創了藝術家的公司模式；那麼高瑀就承載了將中國式漫畫推向世界，並將其大眾化的使命。作為八零後最早成名的藝術家之一，高瑀以卡通式的表達來觀察調侃周圍社會。與其說高瑀的原型是村上隆，不如說他更多借鑒了豐子愷的創作方式，將文學、藝術甚至和電影結合在一起，在現實生活基礎上“溫情地諷刺”。如《邪路妖怪多，勸君莫前行》這件作品，藝術家取材於2012年一社會流行用語，畫面仿佛《西遊記》或某個電影的結尾一幕，西陽西沉，長路漫漫。畫面上方赫然醒目的大字提醒著前路多妖孽；而畫面左邊，西天取經的孫悟空手拿金箍棒，回頭說出“再見”二字，仿佛與觀眾告別，又仿佛有種明知山有虎，偏向虎山行的狂傲不羈。前方，分明是金光閃閃，無比絢爛，與邪路形成鮮明對比，暗示了藝術家對標題的某種質疑或調侃。在色彩和繪畫技法上，此作品採用了中國傳統漆畫的製作方法，將丙烯顏料一遍遍在畫布上著色、打磨、拋光等，經過層層累積才出現如此豐富的畫面效果。畫面中的孫悟空也是繼熊貓大亨後高瑀作品的又一主要角色。正如高瑀自己所言，“卡通只是我的一張皮”；“淺薄不是我的座右銘”。