Page 222 - 亚洲二十世纪及当代艺术

52 劉煒 b. 1965 Liu Wei

૕৷ٙ೥ Van Gogh’s Painting
ልΥదҿ ˝ؐ Mixed media on wood
5
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ɚ㖼㖼ɘϋЪ 80 × 65 cm. 31 /2 × 25 /8 in.
Executed in 2009
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ᄎ⑸ Liu Wei 2009€ɪʕ Signed in Chinese, pinyin and dated on upper middle
LITERATURE
̈و 2009, A Piece of Paper A Piece of Plywood, Red Bridge
2009 ϋdɓੵॷՅ ɓ෯ؐՅ‘dߎ዗೥఼dɪ Gallery, Shanghai, p. 52-53
ऎdୋ 52 Ї 53 ࠫ
EXHIBITED
࢝ᚎ 10 Sep – 15 Oct 2009, A Piece of Paper A Piece of
2009 ϋ 9 ˜ 10 ˚Ї 10 ˜ 15 ˚d˜ɓੵॷՅ ɓ Plywood, Red Bridge Gallery, Shanghai
෯ؐՅ™dߎ዗೥఼dɪऎ PROVENANCE
Ը๕ Red Bridge Gallery, Shanghai
ɪऎߎ዗೥఼ Acquired directly by present private Asian collector
ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ from the above

HKD 700,000 – 900,000
USD 89,700 – 115,400

techniques, deeply imprinting the character’s demeanour Form Is Emptiness, Reshaping the Portrait’s
and appearance in the work. Using this wood panel as the Freedom of Vision
base, he printed four prints, each depicting the protagonist in In fact, Van Gogh also created five oil paintings and two sketch
different expressions, forming a series. Van Gogh’s Painting 2, manuscripts in the Postman series between 1888 and 1889.
collected by Yuz Foundation, is the second paper work in the The compositions of the seven works were very similar, but the
series. The Van Gogh’s Painting (Lot 52) being auctioned is the depiction of background colours and expressions were vastly
only and most precious mixed media wood panel in the series, different, presenting completely different aspects, in order to
and it is the most detailed, ingeniously conceived, and distinct celebrate the warm-hearted friends in his life. The creation of
representation. this series by Liu Wei forms an interesting echo with it. After
completing the paper works of the Van Gogh’s
Painting series, Liu Wei returned to this wooden
piece and added more details with oil paint and
ink. The background displays Liu Wei’s signature
vibrant white flowers, arranged behind the figures
and expanding beyond the frame, as if the flowers
illuminate and grow with vitality. As for the facial
features of the figures, he surprisingly left them as
“blank spaces”. Through this unique expression,
Liu Wei intends to break the conventions of portrait
painting and expand the imaginative space of the
artwork. It allows viewers to reflect and project
the emotions of the characters from the outside,
and openly refers to every person who brings
warmth to one’s life. On the other hand, Liu Wei
further pays tribute to the psychological expression
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