Page 212 - 亚洲二十世纪及当代艺术

50 莎拉．休斯 b.1981 Shara Hughes

֧ͩϗᔛ Rock Collection
ذ੹ ନဒ དഅ ೥̺ Oil, enamel, pencil on canvas
1
ɚ㖼㖼ɖϋЪ 117 x 127.5 cm. 46 × 50 /4 in.
Painted in 2007
ಛᗆ
SHARA HUGHES 2007 Colorado€೥ߠ Signed and located in English, dated on the reverse
EXHIBITED
࢝ᚎ May – Jun 2007, Shara Hughes: Everything, always…,
2007 ϋ 5 ˜Ї 6 ˜d˜୶ז · ;౶jɓʲd֐ Rivington Arms Gallery, New York
୞nn™dRivington Arms ೥఼dॲߒ
PROVENANCE
Ը๕ Rivington Arms Gallery, New York
ॲߒ Rivington Arms ೥఼ Acquired directly by original collector from the above
ࡡᔛ࢕ٜટᒅІɪࠑԸ๕ 19 May 2017, Sotheby’s New York Spring Auction, Lot 401
2017 ϋ 5 ˜ 19 ˚dॲߒᘽబˢ݆֙שርึdש Important Private Collection, Asia
ۜᇜ໮ 401
ԭݲࠠࠅӷɛϗᔛ

HKD 2,200,000 – 3,200,000
USD 282,100 – 410,300

the choice to enter. In the past many of my works colours. The contrast between the clean composition of the
involve somewhat of a border or entryway into the outdoor space and the sophisticated style of the interior is so
paintings. There is a barrier, a cave, a tree, a bush, striking that one can’t help appreciating it.
something you are looking around to enter into the The Rhythm of Shapes and Colours in a Different World
painting. Without knowing it you are already inside The interior landscape forms a unique rhythm of shapes and
my world. My paintings have always been vertical to colours. On the granite wall, a white irregularly shaped block
create this window or doorway effect.”
is placed horizontally, which at first glance looks like a bolt
{{Shara Hughes of lightning. On closer inspection, the vague black straight
Looking at Hughes’ early work, she uses vibrant, bright colours lines give a powerful convex visual effect. In addition, the eye-
and multiple perspectives to create dazzling images. The Rock catching pieces of rocks in different sizes and colours on the
Collection embodies this typical characteristic. With a strong round table are an organic combination of lines, forming a rich
surrealist atmosphere, the work creates a connection between texture on the smooth tabletop, like a musical note to form
the inside and outside by breaking down and rearranging the ups and downs of rhythms, impacting the viewer’s vision
the space. The natural environment is connected from the and soul. The culture of stone appreciation has its own origins
interior to the exterior. The wooden Romanesque semi-circular in the East and the West, and through dialogue with stones,
archway appears on the far left of the painting, echoing the we peep into the wonders of nature and enter into a poetic
granite wall on the right, and focusing the viewer on the centre ancient fantasy. The artist also takes this opportunity to link
of the painting: the sea view through a floor-to-ceiling window. up the historical traces of humanities and nature, and cleverly
The sea, the sky and the beach are divided into three main connects the three time sequences of the past, the present,
and the future.
A Tribute to Hockney
Inspired by Western art history, Hughes grounds her
paintings in the rich tradition of interior paintings.
Her early interiors such as Rock Collection are often
characterised as “Hockney-esque”. The seemingly
unusual context of presenting two very different
landscapes on the same surface is indeed a subtle
echo of Hockney’s unconventional and playful interior
paintings. In this painting, the flow of the sea and
the silence of the indoor space form a confrontation,
pulling out the tension between motion and stillness.
The artist has constructed a doorway beyond time
and space on the limited flat space, preserving the
;౶ೌᕚ‘dᏀдɢ੹eذ੹e೥̺d122 x 107.5 cmd ;౶ЫίցૉνОɝेk‘dذ੹eᏀдɢ੹d೥̺d
2005 ϋЪdשርϓʹᄆ 8,184,000 ʩಥ࿆ 172.7 x 152.4 cmd2017 ϋЪdॲߒɽேึ௹ي᎜ᔛ memories in the rocks.

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