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黃一山 畫架 複合媒材 木版 二〇一五年作 Huang Yishan b.1983 Sketching Easel Mixed media on wood panel Painted in 2015
香港
2023年10月08日 开拍
拍品描述
size:81 x 61 cm. 31 7/8 × 24 in.
款識 Huang yishan 2015(畫背)
Signed in pinyin and dated on the reverse
展覽 2016年3月22日至26日,「黃一山—半開的門」,Art Central 新氧藝畫廊展位,香港 來源 亞洲私人收藏 2016年11月28日,中國嘉德香港秋季拍賣會,拍品編號1283 現亞洲私人藏家直接購自上述來源 穿越歷史與夢境的對話 黃一山的多重視覺空間 「我並不是要推斷出一個什麼確切的結果,也不是要告知某一類真相,而是在尋求感知與現實的一個平衡點。所以我選用了最為『工匠』的做法,消除在作畫過程中的表現性,並且用類似於模型製作的方法去生成畫面上的每一個細節。」 ——黃一山 80後藝術家黃一山自小受其藝術愛好者父親啟蒙,接觸篆刻和繪畫,將藝術的種子根植於心。2006年,他於廣州美術學院接受了專業的油畫及藝術史教育,在2009年碩士畢業後從自身對多元媒材的興趣中探索出一條極具個性的創作道路。在平面作品的基礎上,他以木料、瓷磚等複合媒材,建構浮雕式的空間,以強大的「物質性」擬造出介於現實和夢境之間的真實感。此獨特的「裝置畫」讓他脫穎而出、備受藏家追捧,其作亦被收藏於廣東省美術館、湖北美術館、澳大利亞白兔美術館等機構。是次秋拍的《畫架》(拍品編號68)匯集了木材、瓷磚、油彩三種不同媒材,交融出有趣的化學反應,是黃一山具代表性的一作。而另一水彩作品《纏繞》(拍品編號69)則結合了藏於梵蒂岡博物館的著名古羅馬雕塑《拉奧孔群像》,展現與藝術史的有趣對話。 敬畏與趣味並存的藝術哲學觀 《畫架》中,展現了黃一山「用製作取代畫筆、用材料取代顏料」的風格,為畫中元素賦予具有厚度的質感。背景中青白色的瓷磚整齊地列成牆面,左側如水泥牆面的部分中,棕灰色顏料以充滿動感的姿態由右上往下刷出,行至瓷磚之上。中心的畫架及下方的木地板均以整齊裁切的木條拼貼而成,並通過不同顏色的木條令作品如三維立體的景深,像是在夢境和現實之中,難辨「真假」。更為獨特的是,此作邊緣嵌以不規則的木條,令畫作如被置放於一個真實的畫架之中,增加了另一重空間維度,饒富趣味。可見,對於材質和空間的深層次思辨,是黃一山獨特的母題。 「畫架」作為藝術家創作時的伴侶,是黃一山富有親密情感的物件。而在此畫境的畫架之上,他頗具深意地拼貼了一塊雪亮的刀片,充斥超現實感的黑色幽默。據其自言,他喜愛表現主義中的筆觸質感,但同時認為如若一味以古人的風格創作,只會陷入窠臼,自言:「表現主義對我本人來說一直是一個危險的話題,難以駕馭並容易深陷其中,所以刀片是我在這裡放置的一個暗示」。帶有刀片的畫架是「頭懸樑、錐刺股」一般的自我警醒,時刻提示他應該謹慎思考和駕馭藝術語言,令其為自身所用,避免盲目追求潮流。在多重視覺維度之間,黃一山建造了一個令人玩味、展現獨特藝術觀念的世界,他以理性和細膩打造出自身特出的藝術語彙,並隱晦地暗藏對自我的鞭策,意義深刻。 於尋常之處透現偉大 《纏繞》則以黃一山鍾愛的著名古羅馬雕塑《拉奧孔群像》為主角,並為其隨後創作的複合媒材同名作品及《拉奧孔》的藍本。黃一山在此大刀闊斧地以深淺有別的灰色塊面分割出一個極具現代感的簡約空間,以梯形的黑色線條在地面勾勒出幾何裝飾紋理。中心方形的白色大理石台上,他以極簡而抽象的筆觸畫出主體的《拉奧孔群像》,雕塑人物原本複雜而寫實的軀體及縛身巨蟒在此被化作糾纏的白色線條,宛若再現塑像於記憶中的倒影,將殘酷的殊死搏鬥轉化為夢境一般的情景,擴展想像和解讀的空間。黃一山於此致敬古典雕塑對藝術的啟蒙和解放,全畫安靜而秩序的氛圍呼應18世紀德國藝術史學家溫克爾曼(Winckelmann)對於《拉奧孔群像》的形容:「靜穆的偉大」,同時他又以一種新穎的抽象方式解讀歷史,帶來對於「真實性」的思考。 以嚴肅、理性的創作方式展現戲劇性的碰撞感,是黃一山對傳統的突破,在解構古典名作的同時,他詮釋了別具一格的獨立思考,為其注入新時代的生命力。作為新世代藝術家,回首面對浩瀚的歷史,他並不感到沮喪,而是大膽地「不破不立」,邀請觀者展開一場充滿哲思的探尋之旅。
EXHIBITED 22 – 26 Mar 2016, Huang Yishan—Half Open Door , Art Central O2art, Hong Kong PROVENANCE Private Collection, Asia 28 Nov 2016, China Guardian Hong Kong Autumn Auction, Lot 1283 Acquired directly by present private Asian collector from the above The Dialogue between History and Dreamscape Huang Yishan's Multidimensional Space Born in 1983, Chinese Contemporary artist Huang Yishan continues to elevate his artistic practice through bold experimentation. Inspired by Huang's father at a young age, the artist first engaged art with etching and painting. In 2006, Huang started his academic training in Oil Painting and Art History from Guangzhou Academy of Fine Arts. Graduated in 2009, Huang explored and experimented with various materials, in search of his signatory mark. Known to use wood, porcelain, and mixed media to create a realistic illusion of a multi-dimensional realm, Huang attempts to create a bridge between reality and dreamscape. As part of his iconic series, Huang's "installation painting" became his iconic trademark. For our upcoming season, we are pleased to offer Sketching Easel (Lot 68), an iconic representation of Huang's oeuvre. The mixed media work encompasses wood, porcelain, oil paint, and other mixed-media materials. As materials collide, fluid and solid nature creates an unpredictable reaction. Meanwhile, Entangled (Lot 69), a watercolour work on paper has strong structural and historic connotation with the renowned Roman sculpture Laocoon and His Sons, situated in the Vatican Museum. From a Contemporary lens, it engages a refreshing dialogue between historic and contemporary history. Over the years, Huang's innovative works have been well received and collected by renowned institutions, such as Guangdong Provincial Art Museum, Hubei Museum of Fine Arts, and White Rabbit Gallery, Australia. Philosophy of Art: a Blend of Uniqueness and Inspiration As an experimental and creative artist, Huang Yishan wisely twists our perception and knowledge of three-dimensionality with Sketching Easel. In the context of a wall, porcelain tiles are placed neatly in the background. On the left, wet gray cement is added in an angular and upward brushstroke, creating an illusion of movement in a static scenery. By the centre, shades of wooden planks are slotted well to form depth, dimensionality and an imagery of an easel. In addition, a thick wooden plank is added as a highlight by the right of the artwork. This odd element may be perceived as decorative, however under Huang's gesture, the peculiarity enhances a dialogue of reality versus representation. As a creative individual, an easel is an extension of the artist. It can be understood as an artist's backbone of their artistic journey. For Huang, mere representation is dull. Rather, he actively explores new and unconventional methods of representation. In Sketching Easel, the track of blade by the centre implies a dark humour in the realm of super realism. In a sharp angle, the blade acts as a self-reminder for Huang to be cautious in the creative process. As an artist who favors experimentalism, every expression may be a double-sword, a mixed interpretation. Therefore it becomes Huang's responsibility to be aware and alert, for it is through self-criticism and monitoring that Huang can create his unique and intimate artistic language. Greatness in the Ordinary As a passionate artist, Huang frequently incorporates art history connotations to his artworks. In Entangled, the iconic Roman sculpture Laocoon echoes throughout Huang's interpretation. In the background, gradients of gray is layered to create dimensionality on paper, meanwhile, also expresses minimalism that is in strong contrast with its historical connotation of drama and struggle of Laocoon and his sons. Along a Contemporary path, dark, trapezoidal lines are marked to form the perception of a flooring marbled surface, which supports the main subject of the Entangled sculpture. From a few simple lines, sculpted figures and essential pythons transformed into entangled white lines, creating an illusion and homage to? Laocoon and His Sons. As our visual and memory involuntarily compares to the classical, viewers are welcome to expand their mind for a space for the imaginative. While this simplistic version exerts a refreshing ambience, the subject of Laocoon echoes a comment made by 18th Century German historian Johann Winkclemann, to which he described the work as a "noble simplicity and silent of greatness (German: Edle Einfalt und stille Gr??e)". In the Age of Contemporary, young artists such as Huang Yishan demonstrate adventurous ways of expression and practice. Each artwork breaks conventional standards of the past, and in return, provides a stimulating and new perspective on history, knowledge and reality.

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