劉煒

二〇〇六年作

款識
劉煒，Liu Wei，2006。

北京，紅門畫廊

英國，倫敦，薩奇美術館，〈水墨：中國的藝術〉二〇一二年六月十九日至七月五日，69頁

郭繼生，〈當代中國水墨畫〉（美國，紐約，Distributed Art Publishers；中國，香港，Timezone 8，二〇一〇年），187 頁

Overall in very good condition. This work was created on a hanging scroll and features various acrylic paint fragments extending onto the silk scroll mounting.
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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."

劉煒在1989年畢業於北京中央美術學院版畫系，隨即轉攻油畫。劉煒與方力鈞獲公認為中國「玩世現實主義」兩大代表，其作品毫不留情地諷刺中國自九十年代以來急速工業化和現代化下的各種社會面貌。他是首位連續兩屆獲邀在威尼斯雙年展參展的中國藝術家，其作品獲多間著名博物館展出及收藏，包括M+希克藏品、大都會藝術博物館、成都當代美術館、舊金山現代藝術博物館。

在2000年代初，劉煒開始轉變方向，不再尖銳地揭露中國奔向資本主義的社會現實，轉為內向的審視。他的作品主題從人物肖像變為風景和靜物——同輩藝術家如曾浩和周春芽也有同樣的改變。劉煒的早期作品色彩厚稠濃密、層層相疊，筆觸粗獷強烈；後來的作品畫法則較細膩，色層較薄，用色柔和，稀釋的顏料在畫布上流淌滴落，形成條條痕跡。這些後期作品令人聯想到水墨的之流的水性顏料作品。中國傳統水墨畫家嘗試透過作品營造「不朽」的境界，但劉煒只專注於當下的日常景象。此作品的花卉與傳統畫家筆下的形象完全不一樣，畫家狂放隨意的筆觸與未經雕琢的構圖效果儘管不甚完美，卻成功塑造出獨一無二、平易近人的感覺。