毛旭輝

一九九四年作

北京，程昕東當代藝術中心
紐約，蘇富比， 2007年3月21日，拍品編號114
現藏者購自上述拍賣

〈毛旭輝〉（中國北京，程昕東出版公司，二〇〇五年），186頁

This work is generally in good condition with minor wear in handling around the edges. There is a small chip to the paint in the lower-left quadrant and a minor crack to the paint in the lower-central portion of the work only visible upon close examination. When examined under ultraviolet light, there appears to be no evidence of restoration.
"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."

《日常史詩 • 靜物 • 紅色調》創作於一九九四年，標誌著藝術家由〈家長〉系列的結束，及〈剪刀〉系列的開端，是藝術家關鍵時期的重要作品。《日常史詩 • 靜物 • 紅色調》同時結合了象徵了〈家長〉系列的椅子及後來藝術家重要象徵符的剪刀。家長系列以椅子作為主要符號，既象徵權力，亦同時涉指中國當時政治及社會現狀，並指向了中國文化最核心單位：家庭。一九九四年，藝術家嘗試退回私人空間裡，把目光由社會回到個人內心，把對象轉移至尋常事物，此作正是此探索時期的重要作品，它以藝術家工作室一角為題，椅子仍然是畫面的中心，地上是酒瓶、溫水瓶、廢紙、運動鞋等雜物，椅上則放有水壺、調色用品等，而其中一把紅色剪刀顯得特別耀眼。藝術家回憶這段時期：「隨意組合，回到一種「自娛」狀態和八十年代的「私人空間」裡。」同時，剪刀的造型卻開始抓住藝術家的目光及注意力。「後來我發現「剪刀」的造型與「家長」的符號竟如此相似。」《日常史詩 • 靜物 • 紅色調》中，我們看到剪刀與椅子同時出現，標誌著藝術家探索權力問題的藝術初衷其實沒有改變，並預視著剪刀後來成為他一系列創作的重要隐喻。