Danielle So
\nSpecialist, Head of Evening Sale
\n+852 2318 2027
\ndanielleso@phillips.com
\n

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“Whirlpools represent the trials and adversities of life; the river represents time and the journey of life; and bubbles represent the connection between living individuals and the universe. As my understandings of life are condensed and refined into painterly elements, a mutually inclusive relationship exists between the two, each echoing the other.”
\n— Huang Yuxing Deceptively simple and straightforward in its title content, Huang Yuxing’s Bubbles yields a mesmerising vision to the viewer, layering subtle variations of shape and colour onto each other to produce a rich field of visual stimuli. Vast enough in size to fill their view completely, it offers enough striking combinations of lines and paints in every corner to never be monotonous, or bore with repeated examinations. Neither a cynical light show, or a lazy imitation of the Abstract Expressionists, it represents a spectacular cohesion of Huang’s influences, both artistic and spiritual -from the western Fauvists to his native China’s landscapes, to the spiritual outlook of Tibetan Buddhism- in a transcendentally vivid style that could only be his.

\n\n

Ephemeral Beauty

\n\n

\nThe painting’s monumental size may be a testament to an early part of Huang’s artistic education: graduating from the Central Academy of Fine Arts in his native Beijing, he studied in the Mural Painting Department, which likely influenced his preference for grand, large-scale works. Unsatisfied with classroom education alone, his studies were paired with a long stay in Lhasa, where he immersed himself in Tibet’s culture and religion, and found a greater clarity of purpose. Not wanting to represent those traditions in ‘superficial’ ways, he has instead channelled their deeper messages into this, and his parallel River series: ‘The long river of history keeps flowing forward, people or other creatures live a short life and are swiftly extinguished, too many things are full of variables, and it all depends on what perspective you look at it from.’ ⁱ

\n\n

\"\" — Huang Yuxing, *River*, 2015. Sold by Phillips HK in December 2022.
\nArtwork: © Huang Yuxing

\n\n

\nThis farsighted view of the world, with each life taking up a tiny part of history before others take its place, finds a perfect vehicle in the dainty bubbles, whose short but spectacular lives remind us how disposable, yet precious, everything in the world is.

\n\n

Modern Fluorescence
\n“Fluorescent colors are colors that belong to our time, just as mineral colors belong to Dunhuang, to that period, when they pursued the stability of colors and the confrontation with time. And fluorescent colors are independent color systems that stimulate the senses and are unique to our time”.
\n— Huang Yuxing

\n\n

Simultaneously, his ability to bend light, material, and colours in endlessly wonderful ways creates an entirely unique world of artistic vocabulary, evoking an ethereal and otherworldly effect. This was reached after encountering many personal difficulties: his early works were in a gloomier black-and-white style and upon experiencing financial downturns and yet another journey to the Himalayas in 2009, it prompted him to reintroduce a previously ‘repressed desire and understanding of color’ back into his work, finding it ‘even more intense and gorgeous than before’ ⁱⁱ.

\n\n

\nTo produce the most intense effects possible, the artist alters the viscosity of his paints drastically: sometimes leaving open pots out for a week to dry them thoroughly, then applying them under wetter oils to make them shine brighter. The surreal glow of his scenes, heightened by minute contrasts from stroke to stroke, has shades of the Post-Impressionists, and Huang has indeed cited Picasso and Van Gogh among his favourite artists.

\n\n

\"\" — Vincent van Gogh, *Wheat Field with Cypresses*, 1889, The Metropolitan Museum of Art, New York. Image: © The Metropolitan Museum of Art, New York, Purchase, The Annenberg Foundation Gift, 1993, 1993.132

\n\n

Collector’s Digest

\n\n

Born in 1975 in Beijing, Huang Yuxing studied mural painting at the Central Academy of Fine Arts, graduating in 2000. Following more severe initial work, he developed a distinctive ‘fluorescent’ style, influenced by Fauvism, Expressionism, and further spiritual studies in Tibet, that has won him worldwide prestige. Following two successful solo exhibitions at the Minsheng Modern Art Museum and the Yuz Museum in 2015, he has been honoured with further shows with Almine Rech in Brussels (2021) and New York (2022) and Galerie Perrotin in Hong Kong (2016), and most recently a career-wide retrospective at the Long Museum in Shanghai (West Bund, 2023-24). This has been accompanied with extraordinary sale results: at Phillips Hong Kong in March 2023 a similar work of his, also titled Bubbles (2018), exceeded its $1.5-2.5 million estimate, selling for $2.6 million HKD. High-profile commercial projects have also increased his statue, including a collaboration with Louis Vuitton in 2021 and an NFT project in 2022, which sold out within a minute of launching. In 2023, the artist collaborated with the Hermes-owned Chinese designer brand SHANG XIA and launched a limited-edition collection comprising of furniture and accessories, incorporating his representative artistic elements into the classic SHANG XIA home furnishings collection, in which his abstract aesthetics and detailed imageries are constructed.

\n\n

ⁱ Shu Wen, ‘Huang Yuxing: Painting is an intuition’, Artnow, May 2022.

\n\n

ⁱⁱ Ibid.

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JEAN-MICHEL BASQUIAT Native Carrying Some Guns, Bibles, Amorites on Safari, 1982

\n","version","1715680746",{"_581":1181,"_514":1182,"_1178":1183},"https://assets.phillips.com/auctions/HK010124/42_hi.jpg","

KYLE DUNN The Fool, 2021

\n","1715680870",{"_581":1185,"_514":1186,"_1178":1187},"https://assets.phillips.com/auctions/HK010124/43_hi.jpg","

XIA YU It's Learning Time, 2020

\n","1715680892",{"_581":1189,"_514":1190,"_1178":1191},"https://assets.phillips.com/auctions/HK010124/44_hi.jpg","

CUI JIE S House #5, 2016

\n","1715680972",{"_581":1193,"_514":1194,"_1178":1195},"https://assets.phillips.com/auctions/HK010124/45_hi.jpg","

FRANCESCA MOLLETT Cadence, 2022

\n","1715681122",{"_581":1197,"_514":1198,"_1178":1199},"https://assets.phillips.com/auctions/HK010124/46_hi.jpg","

LAUREN QUIN Second Mercury Mounts, 2020

\n","1715681132",{"_581":1201,"_514":1202,"_1178":1203},"https://assets.phillips.com/auctions/HK010124/47_hi.jpg","

ANDRÉ BUTZER Untitled, 2020

\n","1715681142",{"_581":1205,"_514":1206,"_1178":1207},"https://assets.phillips.com/auctions/HK010124/48_hi.jpg","

KAWS PAY THE DEBT TO NATURE, 2010

\n","1715681151",{"_102":1209,"_104":1210,"_106":1211,"_117":1212},"2024-05-21T16:00:00.000000Z","2024-05-31T16:00:00.000000Z",{"_108":288,"_110":300,"_112":301,"_154":302,"_303":304,"_114":305},[1213],{"_120":129,"_122":123,"_124":1214,"_126":161},"11:00:00","articles",[1217,1241,1252,1262,1272,1282,1292,1302],{"_1218":1219,"_1220":231,"_1221":1222,"_514":1223,"_1224":1225,"_1226":1227,"_1228":1229,"_1230":1231,"_1232":470,"_1233":1234,"_462":470,"_1235":1236,"_1237":1238,"_1239":1240},"coverUrl","https://flockler.com/thumbs/sites/889/evening_sale_169-thumb-4c6c4402-63c6-4176-a7fb-9e080be71602_s600x0.jpg","section","summary","Head of Evening Sale Danielle So highlights works on offer by Jean-Michel Basquiat, Gerhard Richter, Yayoi Kusama, and more.","VIDEO: Gallery Tour: Modern & Contemporary Art Evening Sale, Hong Kong","body","

Danielle So, Head of Day Sale.

\n\n

Auction: 31 May 2024 7pm HKT

\n\n

G/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road West, Kowloon, Hong Kong (map)

\n\n

Viewing: 22 May–1 June
\nMonday-Sunday 11:00am–7:00pm

\n\n

Recommended Reading

\n\n

The Icons of an Icon >

\n\n

\n","publishDate","2024-05-28T15:57:35.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY","articleUrl","https://www.phillips.com/article/145045763/video-gallery-tour-modern-and-contemporary-art-evening-sale-hong-kong","auctionEditorialID",2187,"editorialID",4585,"flocklerID",145045763,{"_1218":1242,"_1220":231,"_1221":1243,"_514":1244,"_1224":1245,"_1226":1246,"_1228":1247,"_1230":1231,"_1232":470,"_1233":1248,"_462":229,"_1235":1249,"_1237":1250,"_1239":1251},"https://flockler.com/thumbs/sites/889/kmp00124-v2s-c0ca5c8a-1cfa-4328-88a9-e27b6e6ff424_s600x0.jpg","See the journey of creation unfold in every brushstroke and texture.","Mark-Making Across Generations: Visible Traces of the Artist's Hand","

Modern & Contemporary Art Hong Kong Auctions Preview

\n\n

In the sphere of abstract art, true creativity emerges not merely in the final composition, but also in the intimate act of creation itself. Phillips’ Hong Kong Modern & Contemporary Art Spring Sales 2024 delve into this intricate process, highlighting the physical and emotional imprints left by artists as they commune with their mediums. Each piece is a testament to the artist’s presence, with their essence captured in every stroke and texture.

\n\n

Every mark, every stroke, is laden with the artist’s innermost thoughts and emotions, inviting viewers to partake in a profound, shared experience.

\n\n

Yayoi Kusama

\n\n

\n\n

Yayoi Kusama, INFINITY NETS (ZGHEB), 2007. Estimate: HK$20,000,000 – 30,000,000 / US$2,560,000 – 3,850,000. Modern & Contemporary Art Evening Sale, 31 May.

\n\n

“I would cover a canvas with nets, then continue painting them on the table, on the floor, and finally on my own body. As I repeated this process over and over again, the nets began to expand to infinity. I forgot about myself as they enveloped me, clinging to my arms and legs and clothes and filling the entire room.” — Yayoi Kusama

\n\n

Born in 1929 in Japan, Yayoi Kusama is among the most internationally acclaimed Japanese artists of the 20th and 21st centuries. She is best known for her obsessional motifs such as nets and polka dots. The nets motif, central to her work since 1958, originated from her struggle with mental illness, especially hallucinations that violently threatened her psychological well being.

\n\n

Kusama’s intense psychological struggle is mirrored by her physical dedication to her art. Beneath the mesmerizing beauty of her net paintings lies a commitment to laborious process. The artist spends countless hours creating these works, repetitively drawing looping marks until they gradually cover and eventually exceed the monumental canvas. She imbues her process with restless, pulsating energy.

\n\n

The present lot, incorporating sophisticated tonal gradations and spatial awareness, is an exemplar of the artist's mastery. Each stroke evolves into swirling patterns, creating a great tension that evokes internal contemplation. The net motif becomes the very conduit through which Kusama constructs her own “theory of everything” to embrace the vastness and interconnectedness of existence. The interplay between precision and organic flow invites deep engagement.

\n\n

Net paintings are among Kusama’s most sought-after works in the art market. In May 2022, at Phillips’s New York Evening sale, Untitled (Nets) from 1959 achieved a remarkable record-breaking price of US$10.5 million — the highest price ever paid for a work by a female artist.

\n\n

\n\n

Yayoi Kusama, Pumpkin, 1982. Estimate: HK$3,200,000 – 4,200,000 / US$410,000 – 538,000. Modern & Contemporary Art Day Sale, 1 June.

\n\n

An early piece in Yayoi Kusama’s extensive series of iconic polka-dotted pumpkins, Pumpkin, 1982 stands out for its striking red against white coloration set against a pattern of black and white nets that covers the background infinitely. As another of her signature motifs, the net symbolizes both a whimsical disruptor and a cosmic unifier, reflecting the artist's vision of obliterating herself into the universe.

\n\n

“Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.” — Yayoi Kusama

\n\n

Kusama’s pumpkins hold deep personal significance rooted in her childhood experiences growing up in rural Japan during WWII, where she first encountered pumpkins while walking with her grandfather. For her, the pumpkin evokes cherished childhood memories and stands as one of her most beloved motifs. It attains almost mythical significance for her. These early encounters with pumpkins at a young age provided a soothing influence during the time when she began experiencing psychologically traumatic hallucinations.

\n\n

Zao Wou-Ki

\n\n

\n\n

Zao Wou-Ki, 30.09.97, 1997. Estimate: HK$6,000,000 – 10,000,000 / US$769,000 – 1,280,000. Modern & Contemporary Art Evening Sale, 31 May.

\n\n

Born in Beijing in 1920, Zao was deeply rooted in Eastern sensibilities. His work resonates with the Taoist idea of the “infinite,” exemplifying both the infinite universe and his infinite exploration of it as an artist. The artist arrived at his East-meets-West synthesis less out of stylistic considerations than as a result of the upheavals and cultural migrations in his life.

\n\n

30.09.97 is a fusion of blue, yellow, white, and green hues, evoking the limitless depth of sea and sky. The rhythmic blending and separation of colors captures life’s perpetual motion. Meticulously layered rose tints add mystery, inviting viewers to explore the painting's subtle intricacies. It is more than a painting; it is a journey through emotions and imagination and a window into the depths of existence.

\n\n

Created in 1997, the present work represents the culmination of insights, techniques, and life experiences Zao accumulated over 50 years. By the 1980s and '90s, the artist had achieved international recognition in Europe, the U.S., and Asia. His later works from this period retain the tension of those of the 1960s while simultaneously elevating the expression of space. His trips to China in the 1980s and 1990s provided Zao renewed inspiration, as he moved away from the interwoven lines and symbols of his earlier works and came to focus on a richer inner world, embracing negative space to capture the true essence of abstract painting.

\n\n

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Zao Wou-Ki, 25.11.81, 1981. Estimate: HK$7,000,000 – 10,000,000 / US$897,000 – 1,280,000. Modern & Contemporary Art Day Sale, 1 June.

\n\n

Fresh to the market, 25.11.81 was painted in 1981 during an important period of creation for the Chinese-French Modern master Zao Wou-Ki. This was the year that the artist was honored with his first major retrospective in France, a testament to his having achieved the heights of international recognition. By this time, he had already been in Paris for over thirty years. One sees the refined yet confident brushwork of a mature master.

\n\n

A beautifully intricate horizontal band of detail runs across the picture pane, with dark strokes of oil paint resembling both calligraphy and the shapes of the natural world. As one scans the canvas, a vast stretch of verdant mountains emerges. Zao employs a linear perspective to create the illusion of atmospheric depth, using nuanced strokes of autumnal green and milky white to reveal and conceal subtle layers of ochre and mustard yellow. This piece exemplifies Zao’s exploration of the compositional challenges in abstraction. Mastery of such detail requires a deep understanding of both Eastern and Western art sensibilities — which Zao was among the first to bridge.

\n\n

With an immense global presence, Zao's creations are part of over 150 public collections in 200 countries, including prominent institutions like MoMA, the Guggenheim, and Tate Modern.

\n\n

Gerhard Richter

\n\n

\n\n

Gerhard Richter, Abstraktes Bild (947-5), 2016. Estimate: HK$26,000,000 – 36,000,000 / US$3,330,000 – 4,620,000. Modern & Contemporary Art Evening Sale, 31 May.

\n\n

“With a brush you have control. The paint goes on the brush and you make the mark. From experience you know exactly what will happen. With the squeegee you lose control.” — Gerhard Richter

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A tremendously influential powerhouse of contemporary art, Gerhard Richter was born in Dresden in 1932 and came of age during a period of intense political and cultural change. A towering figure in contemporary art, his Abstraktes Bild series has attracted widespread interest from many prestigious collections.

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Richter marries chance and control, utilizing techniques like squeegeeing, blurring, and layering to create complex surfaces. His process involves etching, scraping, and smearing paint across the canvas, revealing underlying layers. This meticulous yet spontaneous technique results in a harmonious blend of intention and serendipity, where each element contributes to a captivating whole.

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Abstraktes Bild (947-5) comes from a significant phase in the artist’s career, marking his decisive return to abstract painting after experimenting with digital technologies and chance-based lacquer techniques in the late 2000s and early 2010s. Picking up the squeegee again, he combines vibrant and subdued hues to generate tension and harmony. The painting’s richly textured surface invites close examination, with translucent and opaque layers creating depth and visual intrigue. This work stands as a testament to Richter’s mastery, pushing the boundaries of abstraction and inviting viewers into a world of contemplation and introspection. Today, he continues to explore the relationships between color and form, abstraction and representation, and remains a paragon of the genre in art history.

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Park Seo-Bo

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Park Seo-Bo, Écriture No. 67-78-79, 1979. Estimate: HK$3,500,000 – 5,500,000 / US$449,000 – 705,000. Modern & Contemporary Art Evening Sale, 31 May.

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“What I’ve realized over the years is that I must empty myself to soak up elements that I need, and to make myself more whole. And in order to empty myself, I must perform repetitive actions.” — Park Seo-Bo

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A pioneering figure of the Dansaekhwa movement, South Korean artist Park Seo-Bo is renowned for his Écriture series, which he began in the early 1960s. This series reflects a meditative and spiritual journey, where the act of repeatedly drawing lines becomes a practice akin to breathing. Park's work embraces the tactile qualities of Dansaekhwa and the Korean philosophy of harmony with nature, creating a timeless visual language.

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In Écriture, which means 'writing' in French, Park combines painting with the rhythmic patterns of calligraphy. Using a pencil, he creates meticulous lines on the canvas, a practice rooted in East Asian tradition. This repetitive action is not merely for aesthetic pleasure but serves as a meditative process, deconstructing the self and embracing non-purposefulness.

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Écriture No. 67-78-79, a quintessential example of his signature Écriture series, is both an erasure and creation, echoing the disciplined practice of calligraphy while transcending it to capture the essence of being. Perfectly capturing the artist’s philosophical journey and artistic evolution, the present work was widely shown as part of the ‘Park Seo-Bo Retrospective’ in the National Museum of Contemporary Art in Seoul in 1991.

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Park Seo-Bo, Ecriture No. 110507, 2011. Estimate: HK$1,800,000 – 2,800,000 / US$231,000 – 359,000. Modern & Contemporary Art Day Sale, 1 June.

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Ecriture No. 110507 is a visually striking piece within Park Seo-Bo’s most celebrated series. The vivid red — inspired by the autumnal hues of Japan’s maple forests — infuses the work with an otherworldly sensation, inviting viewers to embark on a spiritual journey that reflects the artist’s meditative artistic process.

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“In my art, the process is more important than the result.” — Park Seo-Bo

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Executed in 2011, this piece marks a later phase in Park’s career, when he began incorporating hanji, a traditional Korean paper, into his works. The use of hanji allows for a rich texture, with repetitive marks creating a rhythmic dynamism. Park meticulously molds the hanji into furrows, reflecting the movement of his body and creating a balance between positive and negative spaces. The linear ridges that run the breadth of the canvas add a beautiful three-dimensionality to the otherwise 2D piece.

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Park Seo-Bo's works are celebrated globally and featured in such prestigious collections as the Guggenheim and MoMA. His exhibitions, including those at White Cube and Art Basel, highlight the enduring relevance and profound impact of his artistic journey.
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Lucy Bull

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Lucy Bull, Claps Jaw, 2019. Estimate: HK$2,800,000 – 3,500,000 / US$359,000 – 449,000. Modern & Contemporary Art Evening Sale, 31 May.

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“It's more about psychic energy than anything. I allow myself to get lost in the making of the paintings, which allows me time to enter this sort of fugue state and get lost in the sauce.” — Lucy Bull

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Lucy Bull immerses viewers in a visceral experience of color and form, with an abstract palette that evokes sensory rather than rational responses. Her 2019 work Claps Jaw exemplifies this approach, transforming the canvas into a realm of vibrant visual stimuli that mesmerizes and captivates.

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Claps Jaw is a visual feast of motion and intensity that draws viewers into a lush, untamed wilderness. The painting's dynamic colors — opulent greens, chartreuse yellows, and hints of peacock blue — shift and dance like kaleidoscopic patterns. Each brushstroke, meticulously choreographed, contributes to the work’s enigmatic allure, evoking a raw power that resonates deeply.

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Bull’s art is reminiscent of Lyrical Abstraction, prioritizing emotional intensity over figurative accuracy. Joan Mitchell and Helen Frankenthaler come to mind. Her gestural brushwork and rich visual field create a tapestry of colors that evoke liberated spirituality.

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\nLauren Quin

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Lauren Quin, Second Mercury Mounts, 2020. Estimate: HK$450,000 – 550,000 / US$57,700 – 70,500. Modern & Contemporary Art Evening Sale, 31 May.

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Lauren Quin’s Second Mercury Mounts makes a profound impact with its masterful composition and rich chromatic complexity. This piece evokes the freedom and energy of Abstract Expressionism, blending vibrant Day-Glo tubes with sharp black pencil sketches. The dynamic interplay of colors and multi-layered symmetries creates an organic, dreamlike quality reminiscent of a waking dream.

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Quin’s rise to prominence, though swift, is rooted in extensive practice and study. Her unique style emerged during an artist residency in Maine, where the pitch-black woods inspired her signature imagery. Influenced by Fernand Léger’s tubular shapes, Quin infuses her work with the intricacies of human anatomy and the surreal essence of the subconscious.

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The artist's multi-layered method involves a base layer of tubes, intersecting lines, and a wide range of visual material from her personal archive. This technique, combined with carvings and prints, results in a textured, immersive experience. The larger dimensions of Second Mercury Mounts allow viewers to appreciate its intricate details and engage deeply with its layered narrative.

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Lauren Quin’s work has been exhibited globally and is featured in public collections worldwide.

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\nAndy Warhol

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Andy Warhol, Dollar Sign, 1981. Estimate: HK$2,800,000 – 3,800,000 / US$359,000 – 487,000. Modern & Contemporary Art Day Sale, 1 June.

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“I like money on the wall. Say you were going to buy… a painting. I think you should take that money, tie it up, and hang it on the wall.” — Andy Warhol

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Created at the height of Andy Warhol’s career, Dollar Sign (1981) is a quintessential example of his iconic series of paintings featuring the dollar sign symbol, which represent the artist’s exploration of commodity culture. This work encapsulates the relationship between art and wealth through the iconic dollar symbol, a motif Warhol repeatedly used to blur the lines between high and low art.

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The Dollar Signs are among Warhol's most potent and essential images, rivaling the historic Campbell's Soup Cans from 1962 in their bold redefinition of what constitutes art. Through the Dollar Signs, Warhol unabashedly said that "big-time art is big-time money," and, with his brutal honesty, he bluntly depicted the symbol of money as the symbol for art.

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Conversely, due to their vibrant colors and extravagant drawing and design, the Dollar Signs are simultaneously exceptionally artistic in their construction. Similar to Warhol's greatest works, they simultaneously strip down and glamorize the subject, rendering it both mundane and alluringly captivating.
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Atsuko Tanaka

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Atsuko Tanaka, 88D, 1988. Estimate: HK$1,400,000 – 2,400,000 / US$179,000 – 308,000. Modern & Contemporary Art Day Sale, 1 June.

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“Tanaka’s paintings deeply affect the viewer’s spirit, suggesting that the boundary of ‘self’ can be changed, structuring a new relationship to the world.” — Mizuho Kato

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Atsuko Tanaka was a pivotal forefront member of the legendary Gutai group — Japan’s first post-war radical art movement, which was founded in 1954 — and she is renowned for embodying the group’s innovative and experimental spirit in her work. During the Second Gutai Exhibition in 1956, the artist famously engaged in a captivating dance, drawing lines and shapes in the air with the flashing neon light of her Electric Dress. This provocative performance — with its intense weight, heat, and luminosity — boldly challenged preconceived notions of the relationship between oneself and the material, placing Tanaka’s own subjectivity within a precarious state.

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Tanaka’s exploration of painting following her involvement with Gutai translates the ephemeral and immaterial Electric Dress performance into a tangible form. Despite being a two-dimensional piece, 88D is full of drama with vivid colorization in black, blue, orange, and yellow. With each brushstroke, Tanaka immerses herself more fully in the canvas, leaving behind not only physical traces of her engagement but also marks that measure the spatial and temporal reach of her corporeal presence.

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\nAnna Park

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Anna Park, Untitled, 2021. Estimate: HK$1,200,000 – 2,200,000 / US$154,000 – 282,000. Modern & Contemporary Art Day Sale, 1 June.

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“My work now operates from the memory of people or places and what that distortion feels like, as opposed to a depiction of reality. Our memories are intrinsically fragmented, discombobulated.” —Anna Park

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Park's work captures the fragmented, discombobulated nature of memory, creating compositions that are both unsettling and intriguing. In Untitled, the composition features a spectacled grinning face here; a coy side-eye there; a set of bared teeth over there. The overall result is one that is phantasmagoric, discombobulated, and filled with dizzying intrigue — a compelling snapshot, perhaps, of contemporary life.

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Working primarily in monochromatic tones, Anna Park's charcoal and graphite creations straddle the line between reverie and memory, combining figuration and abstraction through a flurry of rhythmic lines, shapes, and tones.

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Despite her young age, Park's mature oeuvre has already garnered much recognition, with pieces included in the collections of notable figures like Brian Donnelly (KAWS) and institutions such as the Museum of Fine Arts, Houston.

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現代及當代藝術香港拍賣預展

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在抽象藝術的領域，真正的創意不僅體現在最終的構圖之中，也在私密的創作行為之中呈現。富藝斯香港2024年現代及當代藝術春季拍賣深入探討了如此複雜過程，突出藝術家應用媒材時留下的實體和情感印記。每件作品均是藝術家存在的證明，而每個筆觸和紋理更捕捉了藝術家的精髓。

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每一標記和每一筆觸承載著藝術家內心的思想與情感，邀請觀者參與深刻的共同體驗。

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草間彌生

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草間彌生，《無限網（ZGHEB）》，2007年作

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估價：20,000,000 – 30,000,000港元 / 2,560,000 – 3,850,000美元

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現代及當代藝術晚間拍賣，5月31日

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「我會用網子覆蓋畫布，畫著畫著，接下來就會從桌子延伸到地板，最後一路到自己身上。在這個不斷重複的過程中，這面網不知不覺間延伸至無限，從手到腳、到身上所穿的衣服，乃至房間裡的一切，都被它所覆蓋。」—— 草間彌生

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草間彌生 1929 年出生於日本，是 20 和 21 世紀最受國際讚譽的日本藝術家之一，她以近乎執迷地以網格和圓點等圖案來創作而聞名。網紋是草間彌生自1958年以來常見於其創作的圖案，而這個視覺特色始於草間彌生長期與精神疾病的鬥爭，尤其是被幻覺纏身以至讓她的精神頻臨崩潰。

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草間彌生的強烈心理掙扎反映在她對藝術的實體奉獻之上。令人著迷的網畫背後蘊藏著藝術家全情投入艱苦創作過程的身體力量。在她創作的每一幅網畫中，草間彌生都會投入長時間的極度專注，在畫布上重複繪製密密麻麻的標記，直到標記完全佔據數米長的巨型畫布。整個過程瀰漫著不安的、近乎機械的能量。

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拍品展現了草間彌生的演變，融入了色調漸層和空間感。每一漩渦反覆交疊接替，讓張力從內生成，令人沉思。網紋成為管道，致使藝術家建構個人「萬有理論」，以擁抱存在的廣闊性和相互關聯性。一絲不苟的細節與創作過程的有機本質發揮相互作用，邀請觀者作更深層的內省和了解。

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草間彌生的《無限網》是在藝術市場上最受歡迎的系列之一。2022年5月，在富藝斯紐約晚間拍賣會上，創作於1959年的《無題》以1050萬美元的驚人價格成交，創下了女性藝術家作品的最高成交紀錄。

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草間彌生，《南瓜》，1982年作

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估價：3,200,000 – 4,200,000港元 / 410,000 – 538,000美元

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現代及當代藝術日間拍賣，6 月1 日

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當前作品創作於1982年，屬於圓點南瓜系列的早期作品。拍品以強烈的紅白色調呈現，與黑色背景和白色網狀空間形成鮮明對比。作為她的另一個標誌性主題，網紋既象徵著異想天開的破壞者，又像徵著宇宙的統一者，反映了她將自己融入宇宙的願景。

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「我在寫作和藝術作品中不斷重複著相同的模式或圖像，這是疾病產生的行為。彷彿夢境和幻覺成真一般。我將得到的病轉化為畫布上不斷重複的圖形，這對我來說是無法取代的事情。」 —— 草間彌生

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當前作品畫面中每個部分對藝術家而言皆有深刻意義，植根於她在二戰期間於日本農村長大的童年經歷，當時她和祖父一起散步時第一次遇到南瓜。對於草間彌生來說，南瓜喚起了珍貴的童年記憶，也是她最喜愛的主題之一，幾乎具有神話般的意義。她從小就開始經歷心理創傷幻覺，而這些與南瓜的早期接觸為她舒緩不少精神壓力。

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趙無極

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趙無極，《30.09.97》，1997年作

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估價：6,000,000 – 10,000,000港元 / 769,000 – 1,280,000美元

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現代及當代藝術晚間拍賣，5月31日

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趙無極在1920年生於北京，他的藝術深深植根於東方精神的抒情抽象主義。「無極」一詞源於道家觀念，也是呈現宇宙無限和藝術家無窮盡地上下求索的典範。他對東西方藝術的融合不僅是出於風格上的考慮，而是自身充滿動盪與文化遷徙的生活歷程的自然結果。

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《30.09.97》融合了藍、黃、白、綠等色調，喚起了彷如大海與蒼天一般的無限深邃風光。畫布上的色彩體現了交融與離散的動態，旨在捕捉生命的無窮變化。畫面頂部與中心分別有一縷玫瑰色調，增添了一種神秘感，邀請觀眾進一步探索及發現畫布中的微妙細節。趙無極的《30.09.97》超越了一幅畫所能及，邀請觀眾穿越情感和想象，展開一次朝聖，更是一扇通向我們自身存在深處的窗口。

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拍品創作於1997年，也是趙無極五十多年來所累積的見解、技巧和生活經驗的結晶。1980年代和 1990年代標誌著藝術家在歐洲、美國和亞洲獲得國際認可，而該段時期的後期作品保留了1960年代作品的張力，同時提升了空間的表現力。1980年代和1990年代的中國之行為他的作品提供了全新靈感來源，在畫布上實現了更豐富的內心世界，擁抱負空間，擺脫了早期作品的交織線條和符號，捕捉了抽象繪畫的真正本質。

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趙無極，《25.11.81》，1981年作

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估價：7,000,000 – 10,000,000港元 / 897,000 – 1,280,000美元

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現代及當代藝術日間拍賣，6 月1 日

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《25.11.81》是首次亮相拍賣市場的作品，於1981年創作。1981年標誌了趙無極藝術事業中的一個重要年份：此時，他已在巴黎三十多年，可見其成熟筆觸的精緻與自信。同年，法國大皇宮國家畫廊還為趙無極舉辦了他的首個大型回顧展，也是一項偉大的成就，凸顯了他如何真正達到國際認可的高度。

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這件作品有著美麗而複雜的水平細節，貫穿整個畫面；畫中的深色筆觸既類似於書法，又讓人想起自然世界的形態。從左到右掃視畫布，一片廣闊的青山綠水浮現眼前。趙無極在《25.11.81》中巧妙地運用線性透視，在二維表面製造了關於深度的錯覺。蘊含秋意的墨綠與乳白色的粗獷筆觸交織，而底端的赭紅色與芥末黃微妙地若隱若現。這件作品體現了趙無極對抽象構圖挑戰的探索，而掌握如此細節需要對東西方藝術情感有深刻的理解，而趙無極是最早彌合這種連結的人之一。

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趙無極的作品被全球200個國家的超過150多個公共收藏機構所收藏，其中包括紐約現代美術館、古根海姆美術館和泰特現代美術館等。

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格哈特·里希特

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格哈特·里希特，《抽象畫（947-5）》，2016年作

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估價：26,000,000 – 36,000,000港元 / 3,330,000 – 4,620,000美元

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現代及當代藝術晚間拍賣，5月31日

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「使用畫筆時你是擁有掌控的。顏料從畫筆中流出，你畫下標記。你可以根據經驗確切地知道接下來將會發生什麼。使用刮板時你就失去了掌控。」—— 格哈特·里希特

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格哈特·里希特是一位極具影響力的當代藝術巨擘，1932年出生於德累斯頓，成長於政治和文化劇烈變革的時期。他的《抽象畫》系列引起許多著名收藏家的興趣。

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里希特是機會與控制大師，採用各種技術：刮刀、糊化、分層等，以創作複雜畫面。藝術家刮擦、厚塗和塗抹畫布來顯露底層，而這種細緻而即興的技巧延伸出意圖與恬靜的微妙糅合，其中每個元素渾然天成，引人注目。

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《抽象畫（947-5）》代表著里希特輝煌職業生涯中的一個重要階段，作品代表著藝術家決定回歸抽象畫。在2000年末和2010年初嘗試數位和漆藝技術後，藝術家重拾刮刀後，利用活力充沛的明亮色調到更加柔和且大方的色調，在構圖中產生高度張力卻又和諧。拍品所見的豐富紋理值得仔細觀察，其中半透明和不透明層相互作用帶來深度和吸引力。《抽象畫（947-5）》證明了藝術家成熟和細緻的技法，實屬非凡作品，既突破了抽象的界線，也邀請觀眾深思和反省。他不斷探索色彩與形式、抽象與表現之間的關係，至今仍是藝術史上的典範。

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朴栖甫

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朴栖甫，《描法第67-78-79號》，1979年作

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估價：3,500,000 – 5,500,000港元 / 449,000 – 705,000美元

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現代及當代藝術晚間拍賣，5月31日

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「這些年來我所領悟的是，為了吸收所需的元素和讓自己更完整，我必須將自己清空。而要清空自己，我必須做出重複性的行動。」—— 朴栖甫

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南韓藝術家朴栖甫是單色畫運動的核心人物，以1960年代初創作的《描法》系列聞名於世。這個系列反映了冥想精神之旅，而不斷重複畫線條的藝術表達形式就像呼吸一樣。藝術家的作品融合單色畫的觸覺品質，以及與自然和諧相處的韓國哲學，創造了一種永恆的視覺語言。

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作品標題「描法（Écriture）」在法語中意為「書寫」，朴栖甫將繪畫行為與書法互相結合。如此實踐植根於東亞傳統，朴栖甫用鉛筆在畫布上創作類似書法筆觸的細線。這種重複的過程並非只為美學，而是朴栖甫的哲學轉向：試圖解構自我，接受無目的性。

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《描法67-78-79》是《描法》系列的卓越典範，既是擦除也是創造，不僅呼應了書法的嚴謹，也致力於捕捉存在的本質。拍品於1991 年在首爾國立現代美術館舉辦的《朴栖甫回顧展》展出，並擁有豐富展覽歷史；完美捕捉藝術家的哲學之旅和藝術演變。

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朴栖甫，《描法第110507號》，2011年作

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估價：1,800,000 – 2,800,000港元 / 231,000 – 359,000美元

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現代及當代藝術日間拍賣，6 月1 日

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《描法110507號》充滿視覺吸引力，來自朴栖甫最享負盛名的系列；以熾熱的紅色呈現，靈感來自日本秋葉。如此顏色選擇立即與同系列中的其他作品區分開來，並邀請觀衆踏上一趟心靈之旅，反映了藝術家冥想式創作過程。

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「在我的畫作中，過程比結果更為重要。」—— 朴栖甫

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拍品創作於2011年，來自朴栖甫《描法》系列的後期作品，而當時藝術家開始通過使用韓紙。韓紙帶來更豐富的質感，令重複標記散發著活力動感。藝術家將韓紙小心翼翼地塑造成長條狀的皺紋，而這些標記直接反映了朴於繪畫時的動作，並進而誘發出正負空間中的治癒平衡。以上過程成就了沿著整個畫布支撐的線性脊線，為原本的二維作品增添了美麗的三維效果。

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朴栖甫的作品獲得全球各大機構收藏，包括古根漢美術館、紐約現代美術館等。他在白立方畫廊和香港巴塞爾藝術展的個展，突出其藝術之旅的持久相關性和深遠影響。

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露西·布爾

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露西·布爾，《下顎拍擊》，2019年作

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估價：2,800,000 – 3,500,000港元 / 359,000 – 449,000美元

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現代及當代藝術晚間拍賣，5月31日

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「我的作品更多關乎精神能量而遠勝其它。我讓自己完全沈浸在繪畫過程中，慢慢進入一種神遊狀態並迷失其中。」—— 露西·布爾

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露西·布爾的實踐邀請觀眾進入顏色和形式的感性體驗，結合抽象的調色，誘發更多感官甚於理性的反應。她的2019年作品《下顎拍擊》正是一幅矚目典範，她將畫布轉化爲飽含視覺刺激的迷人場域，其觸發的感官效果使人目眩神馳。

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當前拍品即刻將觀眾帶入鬱鬱蔥蔥的荒野深處，猶如一曲富含動感與強度的交響樂。華美的綠色、泛著螢光的黃色、精湛的紅木色筆觸與誘人的孔雀藍互相交織，而這些顏色似乎處於持續變化之中，就像萬花筒圖案。《下顎拍擊》的每一筆觸均是精湛鋪排，就像那迷人的荒野般，喚起觀眾內心深處的原始共鳴。

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布爾的藝術讓人想起抒情抽象，優先考慮情感強度而甚於形象的準確性，例如海倫·弗蘭肯塔勒和瓊·米切爾的作品。她的手勢筆觸和豐富視野編織了鮮豔色彩，亦讓人想起喚起了精神上的解放。

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勞倫·奎恩

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勞倫·奎恩，《第二水星之升》，2020年作

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估價：450,000 – 550,000港元 / 57,700 – 70,500美元

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現代及當代藝術晚間拍賣，5月31日

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勞倫·奎恩的《第二水星之升》便會被其精湛的構圖和無數的複雜色彩刺激，留下驚人的影響；明亮的Day-Glo 管在她銳利的黑色鉛筆草圖中交織在一起，喚起了抽象印象派的自由和能量。畫中色彩及多層次對稱形狀掀起動感，散發著如夢似幻的有機氣氛，猶如醒著的超現實夢境。

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儘管奎恩非常迅速的在藝術界崛起，她無非是透過大量的學習和練習以取得經驗。她在緬因州一次藝術家駐留期間開始夢想自己的獨特風格，其中黑夜的木林啟發屬於個人標誌性意象的靈感。奎恩深受費爾南·雷捷的管狀形狀所影響，在作品中加入人體內部錯綜複雜的管道，以及潛意識的超現實本質。

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在奎恩多層法的繪畫中，管子總是構成畫作的底層，由較小的相交線逐漸擴張變大，並且反覆利用來自她個人檔案中的各種視覺材料。先是線條，然後用刀或勺子雕刻，最後將印刷品壓在畫布上，讓觀眾更有臨場感和參與感。大尺寸的《第二水星之升》，也讓觀眾欣賞作品中複雜的細節和紋理，以及與多層敘述互動。

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勞倫·奎恩作品曾於世界各地多處展出，並被公共機構納入典藏。

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安迪·沃荷

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安迪·沃荷，《美元符號》，1981年作

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估價：2,800,000 – 3,800,000港元 / 359,000 – 487,000美元

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現代及當代藝術日間拍賣，6 月1 日

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「我喜歡把錢掛到牆上。譬如說你打算去買...一幅畫。我覺得你應該拿著那些錢，把它綑成一綑，掛到牆上去。」——安迪·沃荷

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創作於安迪·沃荷職業生涯巔峰時期的《美元符號》是其標誌性系列作品之一，通過「$」符號探索沃荷對商品文化的終身迷戀，體現了藝術與財富之間密不可分的關係。沃荷在創作中重複使用這個美元標誌，挑釁對高雅與低俗藝術的二分法。

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美元符號是沃荷最有力的重要圖像之一，直接呼應了其1962年《坎貝爾湯》系列，均為可接受的藝術形式大膽作出了重新闡釋。沃荷透過《美元符號》毫不掩飾地表示：「一流的藝術是一流的金錢」，並以他直言不諱地將金錢的象徵描繪成藝術的象徵。

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相反，由於其鮮豔色彩和奢華的設計繪製，《美元符號》在結構上同時具有非凡的藝術性。類似於沃荷最偉大的作品，拍品同時剝離和美化主體，使其既平凡又迷人。

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田中敦子

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田中敦子，《88D》，1988年作

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估價：1,400,000 – 2,400,000港元 / 179,000 – 308,000美元

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現代及當代藝術日間拍賣，6 月1 日

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「田中敦子的畫作在觀者的精神層面上有著深遠的影響，暗示我們固定的『自我』邊界在實際上是可以改變的，並可以與世界建立一種全新的關係。」—— 加藤瑞穗

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田中敦子是具體派的核心人物。「具體派」正式名稱為「具體藝術學會」，成立於1954年，是日本戰後首個前衛藝術群體，致力追求創新和實驗性的創作方式。1956年第二屆具體美術展期間，田中敦子親自穿戴作品《電器服》上場，在迷人的舞蹈下劇烈旋轉，閃爍的霓虹燈畫出線條和形狀。作品在重量、熱度和亮度的衝擊下，大膽挑戰自身與物質關係中既定的概念，主體之間存在的一種不安、不穩定狀態促使田中思考。

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田中在加入具體派後對繪畫的探索將短暫的、不具實體的《電器服》表演轉化為有形的創作。雖然拍品《88D》只是平面的油彩畫布作品，它卻體現了類似的張力，以黑色、藍色、橙色和黃色交織，充滿了戲劇性的鮮豔色彩。每一次下筆，田中都將自己完全沉浸在廣闊的畫布中，不僅留下了她與媒介接觸的物理痕跡，更是丈量她自身在時間與空間存在的標記。

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安娜·帕克

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安娜·帕克，《無題》，2021年作

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估價：1,200,000 – 2,200,000港元 / 154,000 – 282,000美元

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現代及當代藝術日間拍賣，6 月1 日

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「現在的我試圖根據記憶中的人或地方，藉著這種扭曲的感覺著手創作，而不是對現實的描述。我認為我們的記憶在本質上是支離破碎的、混亂的。」——安娜·帕克

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帕克的作品捕捉了記憶片段化、混亂的本質，創造出意想不到的、時而令人不安的作品。從《無題》可見，這裡有著一張戴著眼鏡狡猾的笑臉；那裡有靦腆的側眼；某處又露出一排牙齒。整體的效果與幻覺並無二致，搖晃不定令人眼花撩亂，猶如一幅當代生活的快照。

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安娜·帕克常以單一色調作畫，炭筆和石墨創作模糊遐想與記憶之間的分界，透過一系列有節奏的線條、形狀和色調，遊走在具象與抽象間。

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儘管年紀輕輕，帕克在藝術界嶄露頭角，其成熟之作獲得肯定並被著名的布萊恩．唐納利（KAWS）所收藏，同時也被休士頓美術館等公共機構納入館藏。

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現代及當代藝術晚間拍賣，5月31日 7pm HKT

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現代及當代藝術日間拍賣, 6 月1 日 2pm HKT

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\n","2024-05-27T07:20:48.000000Z","https://www.phillips.com/article/144992572/mark-making-across-generations-visible-traces-by-artists-hands-mca-052024-cn",2181,4580,144992572,{"_1218":1263,"_1220":231,"_1221":1264,"_514":1265,"_1224":1266,"_1226":1267,"_1228":1247,"_1230":1231,"_1232":470,"_1233":1268,"_462":98,"_1235":1269,"_1237":1270,"_1239":1271},"https://flockler.com/thumbs/sites/889/kmp00020s-017710b0-7eb7-407d-a152-c1131af0c869_s600x0.jpg","A curated odyssey through Figurative Art and Portraiture, where the essence of form and symbol converge.","Faces Throughout the Eras","

Modern & Contemporary Art Hong Kong Auctions Preview

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In the grand theater of art, the “Figure” has long commanded the veneration of artists, encapsulating the quintessence of beauty and emotion — and the inexorable passage of time.

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Phillips’ Hong Kong Modern & Contemporary Art Spring Sales 2024 unveil an exquisite assemblage of works. The nuanced subtleties of figurative works is on full display, as well as the audacious bravura of contemporary abstraction. These are masterpieces transcending mere depiction that invite us into a realm where figures and symbols ascend to iconic status and become vessels of artistic splendor and profound narrative.

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KAWS, PAY THE DEBT TO NATURE, 2010.
\nEstimate: HK$ 7,500,000 – 12,000,000 / US$ 962,000 – 1,540,000.

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Modern & Contemporary Art Evening Sale, 31 May.

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In PAY THE DEBT TO NATURE, KAWS masterfully intertwines the essence of classical memento mori with contemporary abstraction and pop culture iconography. This striking piece, which headlined his 2010 exhibition at Galerie Perrotin in Paris, takes its ominous title from a quote in Thomas Pynchon's Gravity’s Rainbow — “Death is a debt to nature due, which I have paid, and so must you.”

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KAWS here pays homage to 20th-century sculptor H. C. Westermann — whom he discovered in 2001 — along with four other artists who revealed a braver, wilder, and less categorizable side of art history. Inspired by an evocative 1974 drawing of Westermann’s, KAWS incorporates a similarly unsettling silhouette, transforming it with his characteristic blend of cartoonish forms and stark abstraction. The large-gloved and shoed mascot in this piece echoes both Mickey Mouse and KAWS’s own signature COMPANION figure, presenting a juxtaposition of innocence and menace.

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Calling to mind an enormous range of creative influences, KAWS’s work is not bound to a set story or a single line of art history — not even his own — and continues to surprise. PAY THE DEBT TO NATURE exemplifies the artist’s adventurous spirit, with amorphous shapes and jagged forms coexisting with monochromatic cutouts to create a scene where nature reclaims its rights in a surreal, almost dystopian manner.

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André Butzer, Untitled, 2020.
\nEstimate: HK$ 700,000 – 900,000 / US$ 89,700 – 115,000.

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Modern & Contemporary Art Evening Sale, 31 May.

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In Untitled (2020), André Butzer assembles a quartet of his most potently symbolic characters in a composition that is at once whimsical and unsettling. In the center are two childlike, smiling figures evocative of his iconic golden woman. That character for him embodies the vital force to overcome the dichotomies of good and evil, creation and destruction, life and death. On the left is a candy-colored figure with an alien-like head, one of Butzer's “Friedens-Siemens-children,” as he calls them, who symbolize a bridge between historical extremes and the quest for peace. Contrasting sharply with these benign figures is the 'Shame-Man' or 'Wanderer,' whose jagged features and blank eyes hint at a deeper history of loneliness and existential dread.

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Butzer's rich personal mythology draws heavily from his conflicted relationship with the modern world, influenced by his upbringing in the industrial hub of Stuttgart and his subsequent experiences in California. His stylistic evolution reflects a journey through the visceral figurations of Edvard Munch and Asger Jorn, towards a more narrative-driven, yet abstract, approach. This transformation is encapsulated in his “Science-Fiction Expressionism,” where recurring characters gain cultural weight through shifting contexts and story influences.

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In Untitled, Butzer's characters inhabit the imagined space colony of NASAHEIM — a name blending NASA, Disneyland's Anaheim, and the German word for home. It is a paradoxical landscape where utopian dreams and banal realities collide. Injecting a haunting presence into this otherwise vibrant scene is The Wanderer, inspired by Munch’s The Scream, Melvins' 90s rock insignia, and Hölderlin’s Romantic novel Hyperion. His unsettling silhouette, rooted in past traumas and existential dislocation, underscores the tension between Butzer's bright, playful style and the darker undertones of his narrative.

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Jonas Wood, Wimbledon 1, 2011.
\nEstimate: HK$ 2,000,000 – 4,000,000 / US$ 256,000 – 513,000.

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Modern & Contemporary Art Evening Sale, 31 May.

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Jonas Wood executed Wimbledon 1 in 2011. At first glance, one sees a tennis player in sports attire, centrally positioned within an interior and surrounded by three Slazenger tennis balls. Upon closer inspection, however, it becomes apparent that this figure is actually a painting within a painting — which creates a layered and complex narrative space. The unique blend of figuration and abstraction evokes the surreal interiors of his influences — Henri Matisse, Alex Katz for his bold flattening, and the David Hockney for his vivid domesticity.

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Wimbledon 1 reflects Wood’s ongoing fascination with sports imagery, particularly tennis, which he captures with both affection and critical distance. His earlier works in the tennis court series, inspired by turning off the lights and photographing tennis matches on his TV, reflect a deep engagement with the subject. In this piece, his depiction of the official Wimbledon tennis balls and the meticulous detailing transform a familiar sports scene into an enigmatic, almost surreal vignette.

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Xia Yu, It's Learning Time, 2020.
\nEstimate: HK$ 500,000 – 700,000 / US$ 64,100 – 89,700.

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Modern & Contemporary Art Evening Sale, 31 May.

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It’s Learning Time by Chinese artist Xia Yu depicts a serene yet enigmatic scene of two individuals in a softly lit room. Using tempera, Xia captures intricate details and vibrant colors, transforming an ordinary moment into a profound meditation on domestic life. The textured room, fibrous curtain, and soft garments emphasize the sanctity of the space as a site of introspection and intellectual engagement.

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Xia Yu, born in Anhui, China in 1981, is renowned for his exploration of contemporary urban life through figurative art and portraiture. His works often delve into the psychological states and relationships of individuals, drawing comparisons to the intimate, everyday scenes of artists like Edward Hopper.
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\nIn It's Learning Time, Xia Yu creates dramatic tension by placing figures face to face — a technique reminiscent of Renaissance portraiture that emphasizes psychological depth and interaction. Here, the figures hover between action and dreaming, reflecting Xia’s philosophy of exploring the fluid identities of individuals. The woman's active gaze is a departure from conventional passive depictions of women in art. This challenges the power dynamics. An intimate portrayal, it invites viewers to reconsider their perceptions and the nature of the gaze in art — to offer a contemporary reflection on timeless themes.

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Christina Quarles, Yew Don' Wanna Pick From My Apple Tree, 2021.
\nEstimate: HK$ 3,500,000 – 5,500,000 / US$ 449,000 – 705,000.

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Modern & Contemporary Art Evening Sale, 31 May.

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Yew Don’ Wanna Pick From My Apple Tree (2021) by Christina Quarles challenges viewers to find their own meanings within its fluid, abstract forms. Human figures intertwine and dissolve into one another, their limbs and torsos merging in vibrant, non-traditional colors and patterns. Quarles’ work defies conventional markers of sexuality and gender, creating a dynamic scene of continuous transformation.

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Quarles draws on her personal experiences. Born to parents of different races and identifying as a queer woman, she challenges traditional art historical narratives and societal norms. Her compositions disrupt the viewer's expectations, much like the provocative works of Arshile Gorky, pushing the boundaries of figurative art and portraiture. The title, Yew Don’ Wanna Pick From My Apple Tree, references Erykah Badu’s 90s soul hit "Appletree," an anthem of self-confidence and individuality. Badu’s lyrics, “I pick my friends like I pick my fruit… I work at pleasin' me 'cause I can't please you,” resonate deeply with Quarles’ themes of self-reliance and personal empowerment.

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Yoshitomo Nara, O.T (N.G), 1993.
\nEstimate: HK$ 2,500,000 – 3,500,000 / US$ 321,000 – 449,000.

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Modern & Contemporary Art Day Sale, 1 June.

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O.T (N.G) by Yoshitomo Nara is a visually captivating piece that showcases many of the most revered motifs in the Japanese artist’s distinctive visual language. A seemingly angelic child with red pigtails and a baby blue dress stands against a golden background. Her reserved posture and rosy cheeks suggest purity, but her confronting, almond-shaped emerald eyes invite a deeper, more proactive interpretation. This contrast between childhood innocence and the intricate vulnerability of emotion is a hallmark of Nara's iconic portraits.

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A distinctive feature of this painting is the organic form atop the girl’s head, reminiscent of an inverted lily pad. This element not only reflects Nara’s upbringing in Northern Japan but also serves as a metaphor symbolizing themes of coming of age. Framed by a thick black outline — a signature of his work from this period — the girl in O.T (N.G) inhabits a space that seamlessly bridges the flat plane of drawing, the vibrant world of illustrations and comics, and the rich textures of painting.

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Nara’s art often reflects his solitary childhood experiences, filled with rebellion and isolation. Educated at the Kunstakademie in Düsseldorf under Neo-Expressionist A.R. Penk, Nara developed a style that simplifies and intensifies his subjects against monochromatic backgrounds, a significant shift from his more complex early compositions.

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KAWS, PERFECTLY CLEAR, 2010.
\nEstimate: HK$ 2,500,000 – 3,500,000 / US$ 321,000 – 449,000.

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Modern & Contemporary Art Day Sale, 1 June.

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“I’m not seeing SpongeBob at all... I’m abstracting it and making it more about color and SpongeBob shape.” — KAWS

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PERFECTLY CLEAR by KAWS reimagines the iconic SpongeBob character through an abstract lens, offering a tightly cropped view of his expressive face. Though stripped of all features, the character remains instantly recognizable. KAWS masterfully blends the vibrant aesthetics of classic animation with the boldness of Modernist painting, creating a piece that's both playful and sophisticated. By adding his trademark X-ed out eyes to SpongeBob's face, he infuses the work with his unique signature, making it an unforgettable fusion of art and pop culture.

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First exhibited at The Aldrich Contemporary Art Museum in 2011, this piece was part of a larger installation featuring various SpongeBob revisions. These works explored different aspects of the character’s face, sometimes exploding it into geometric forms reminiscent of Mondrian’s primary-color compositions. KAWS's background as a graffiti artist and animator informs his unique style, skillfully blending high art with pop culture. This distinctive fusion has made him one of today's most influential artists.

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Derek Fordjour, One Up Two Down, 2016.
\nEstimate: HK$ 2,000,000 – 3,000,000 / US$ 256,000 – 385,000.

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Modern & Contemporary Art Day Sale, 1 June.

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In One Up Two Down (2016), the artist Derek Fordjour employs three female figures resembling sports players or cheerleaders to explore unbalanced power dynamics. One figure stands on the knees of the other two to take center stage, while they, leaning back towards the ground, are pushed off to the sides. The towering central figure maintains her position only through the voluntary support of the others — a symbolic representation of the established routines and inequalities within societal structures. The twelve bright pink-and-white stripes behind them evoke a circus or big-game atmosphere, which is reminiscent of both Georges Seurat’s La Cirque and an upturned American flag to hint at the nation’s historical complexities.

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Fordjour’s work frequently addresses themes of power, vulnerability, and inequality, drawing on his personal experiences as the son of Ghanaian immigrants and a Black man in contemporary America. His technique involves layering glued cardboard tiles, newspaper, and paint, which he partially scrapes away to reveal embedded histories. By revealing and concealing various elements within his work, Fordjour compels viewers to reflect on the multifaceted nature of support and dominance, urging a deeper understanding of how power is constructed and maintained within different contexts.

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Invader, Rubik Green Ghost, 2008.
\nEstimate: HK$ 1,200,000 – 2,200,000 / US$ 154,000 – 282,000.

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Modern & Contemporary Art Day Sale, 1 June.

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Rubik Green Ghost by Invader exemplifies the artist's unique blend of street art and digital culture. Known for his pixelated mosaic designs inspired by retro video games and iconic pop culture figures, Invader has become a prominent figure in contemporary street art since the late 1990s. Similar to Banksy, he maintains anonymity, often working at night to install his mosaics on city facades to make his art accessible to the public outside traditional galleries and museums.

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Created using solved Rubik’s cubes, Rubik Green Ghost depicts one of the main antagonists from the iconic video game Pac-Man. Each cube, comprised of nine pieces or pixels, forms part of the ghost's silhouette, maintaining the pixelated aesthetic central to Invader's style. This approach echoes early digital art forms and also the pointillism technique of Georges Seurat, where individual dots create a cohesive image from a distance.

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Invader's work emphasizes the cultural significance of video game characters, positioning them as modern icons in an era dominated by digital technology. His public installations, seen in over 65 cities across 33 countries, engage viewers in a dialogue with urban environments, transforming everyday spaces into interactive art experiences.

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Kenny Scharf, Quark, 2021.
\nEstimate: HK$ 700,000 – 1,000,000 / US$ 89,700 – 128,000.

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Modern & Contemporary Art Day Sale, 1 June.

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Kenny Scharf’s Quark bursts with energy and creativity, embodying his signature blend of pop culture and abstract expression. The title, referencing the fundamental particle of matter, also nods to James Joyce’s Finnegans Wake, reflecting Scharf’s eclectic inspirations. Scharf, who mixes European artistic influences with mass media, transforms abstract paintings into lively compositions by adding alien-like faces, surrounded by luminescent patterns — a nod to his background in graffiti and street art.

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Quark features swirling lines and vivid hues, creating a dynamic, fractal-like playground where cartoonish faces emerge, echoing the exuberant grotesquerie of Basil Wolverton and the whimsical creations of Hanna-Barbera. This fusion of styles and influences results in a visually striking tableau that invites viewers to find new patterns and details with each viewing. Scharf’s art, rooted in his childhood fascination with deconstructing popular images, continues to evolve, maintaining its joyous, uncontainable force and defying traditional artistic boundaries.

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Discover More >

\n","2024-05-23T08:02:34.000000Z","https://www.phillips.com/article/144849429/faces-throughout-the-eras-mca-052024",2175,4574,144849429,{"_1218":1273,"_1220":231,"_1221":1274,"_514":1275,"_1224":1276,"_1226":1277,"_1228":1247,"_1230":1231,"_1232":470,"_1233":1278,"_462":188,"_1235":1279,"_1237":1280,"_1239":1281},"https://flockler.com/thumbs/sites/889/kmp00020s-aa5de582-6128-4354-bee9-b7e305d18261_s600x0.jpg","投入一場精心策劃的具象藝術和肖像藝術之旅，聚焦形態與象徵主義的精髓。","被選中的時代面孔","

現代及當代藝術香港拍賣預展

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在藝術交匯中，「具象」早已贏得藝術家的傾慕，捕捉了美態與情感的精髓，以及無情的時間流逝。

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富藝斯香港2024 年現代及當代藝術春季拍賣將會呈現上述的精美系列，包含具像作品的微妙之處，以及當代抽象藝術的大膽本色。這些傑作超越了單純的描繪，邀請觀者進入另一境界，其中人物和符號昇華至標誌性層次，展示藝術的輝煌和深刻的敘事。

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KAWS，《對自然的償還》，2010年作
\n估價：7,500,000 – 12,000,000港元 / 962,000 – 1,540,000美元

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現代及當代藝術晚間拍賣，5月31日

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KAWS 在《對自然的償還》糅合經典墓誌銘的精髓與當代抽象和流行文化圖像，游刃有餘。《對自然的償還》是 KAWS 2010 年底在巴黎貝浩登畫廊舉辦的展覽的標題作品，其標題引用了托馬斯·品欽迷幻小說《萬有引力之虹》中的一句話 ——「死亡是對自然的虧欠，我已經償還了，你也必須償還」。

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KAWS同時在拍品致敬了二十世紀藝術家。2001 年，他發現了雕塑家H. C. 韋斯特曼及其他四位藝術家的作品：他們揭示了藝術史中更勇敢、更狂野、更難以分類的一面。他的靈感來自韋斯特曼1974年的繪畫，並將這一令人不安的剪影幾乎原樣移植到畫作中，更以其卡通形態和鮮明抽象的獨特融合改變剪影。只是這一次，發出威脅者是一個戴著碩大手套、穿著鞋子、類似米老鼠（或 KAWS 的「同伴」）的吉祥物。

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KAWS讓人想起廣泛的創作影響，但他的作品並不局限於既定的故事或藝術史線索，所以繼續令人驚艷。《對自然的償還》彰顯了他的冒險精神：以不具面貌、沒有深度的剪影呈現，由一根鋸齒狀、單色塗繪的樹枝填充，創造了一個場景，其中自然以超現實及近乎反烏托邦的方式收回應有權利。

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安德烈·布斯爾，《無題》，2020年作
\n估價：700,000 – 900,000港元 / 89,700 – 115,000美元

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現代及當代藝術晚間拍賣，5月31日

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安德烈·布斯爾的《無題》集結了藝術家四個最具象徵意義的角色，或然妙想天開，或然讓人不安。畫作中心有着兩個天真爛漫、面帶微笑的人物，兩人都像藝術家的金色女人，而這角色體現了克服善與惡、創造與毀滅、生命與死亡之間分離的生命力。他們左側的鄰居既像糖果，又像卡通外星人：這是藝術家的弗里登斯－西門子－孩子之一，據說能夠彌合歷史的極端和尋求和平。他們童話般的微笑與最後一個人物的鋸齒特徵、咧嘴笑臉和空洞的眼睛形成了鮮明對比，這個角色被稱為「羞愧者」和「流浪者」，在其無盡的旅途中承載着深邃的歷史與孤獨，以及存在的恐懼。

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這個豐富的個人神話源自於布斯爾的個人旅程以及與現代世界的矛盾關係，受到他在斯圖加特工業中心的成長經歷，以及隨後在加州的體驗所影響。他的風格演變反映了愛德華·蒙克和阿斯格·喬恩的具象影響，產出一種更以敘事驅動，但較為抽象的創作方法。在藝術家自稱為「科幻表現主義」的風格當中捕捉了這種演變，而他逐漸將自己的作品填滿了反覆出現的角色，其中每個角色都透過藝術家豐富的影響和不斷變化的環境下獲得越來越多的文化重量。

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在《無題》中，所有角色都居住在一個名為「NASAHEIM」的太空殖民地，其詞源融合了「NASA」、迪士尼樂園於阿納海姆的所在地以及德語中「家」的元素，創造了一個烏托邦式盼望與平庸現實碰撞的矛盾景觀。

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「流浪者」的靈感來自蒙克作品《吶喊》，也是1990年代搖滾樂隊Melvins的標誌，同時象徵荷爾德林的浪漫主義小說《許佩里翁》，為這個原本充滿活力的場景注入了一種令人難以忘懷的存在。角色令人不安的剪影代表了過去的創傷，也暗示了他是無家可歸的人，強調了布斯爾明亮俏皮的近期風格與敘事中黑暗基調之間的緊張關係。

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喬納斯·伍德，《溫布頓 1號》，2011年作
\n估價：2,000,000 – 4,000,000港元 / 256,000 – 513,000美元

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現代及當代藝術晚間拍賣，5月31日

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創作於 2011 年的《溫布頓 1號》邀請觀眾來到伍德的家中角落：乍看之下，這似乎是一位身著運動裝的網球運動員之肖像，他佔據了整個構圖的中心，被三個網球包圍。然而，仔細觀察後，我們會發現這個人物只是懸掛在更大的室內空間中的肖像畫，而《溫布頓 1號》正是一個層層疊疊的複雜敘事空間。伍德的方法與其他藝術家有相似之處，包括亨利·馬蒂斯的超現實室內景觀、亞歷克斯·卡茨的大膽平面和大衛·霍克尼的鮮豔家境，全都影響著藝術家具象與抽象的獨特融合。

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《溫布頓 1號》是伍德對於體育圖像（尤其對於網球的迷戀）的延續，並以運動粉絲和批判性的距離捕捉這些圖像。早期網球場系列作品起源自藝術家關燈後拍攝電視上網球比賽的照片，反映了藝術家對於主題的深入互動。在這件作品中，伍德對溫布頓官方網球的描繪和其精緻細節呼應了他對這項運動的熱愛，同時將熟悉的體育場景轉變為近乎超現實的神秘小插曲。

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夏禹，《是學習時間》，2020年作
\n估價：500,000 – 700,000港元 / 64,100 – 89,700美元

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現代及當代藝術晚間拍賣，5月31日

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在《是學習時間》中，中國藝術家夏禹描繪了一個既熟悉又神秘的場景。這件作品繪畫了兩個人在一個光線柔和的房間裡。夏禹選擇了以蛋彩作為創作媒材，以其細膩的細節和鮮豔的色彩，將一個普通的場景變成了值得思考的東西。房間的質感、窗簾的纖維品質以及服裝的柔軟編織，強調了家庭領域作為反思和智力大戰場所的神聖性。

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夏禹於1981年出生於中國安徽，以具象藝術和肖像藝術探索當代都市生活的面貌而聞名。他的作品經常深入探討個人心理狀態和個體之間的關係，擅長捕捉日常生活中的親密瞬間場景，類似於愛德華·霍珀的風格。

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在拍品的構圖中，夏禹將人物面對面放置來營造戲劇性的張力，而這種技巧讓人想起文藝復興時期的肖像畫，強調心理深度和兩者互動。其中每個筆觸和輪廓都跨越着行動和夢想的界限，反映了夏禹探索個人身分流動性的哲學。女角的主動凝視與傳統的被動描繪形成鮮明對比，挑戰了藝術中的權力平衡。這種親密的描繪邀請觀者重新考慮其看法和藝術凝視的本質，提供對於永恒主題的當代反思。

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克里斯蒂娜·夸爾斯，《你不想摘我蘋果樹上的果實》，2021年作
\n估價：3,500,000 – 5,500,000港元 / 449,000 – 705,000美元

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現代及當代藝術晚間拍賣，5月31日

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克里斯蒂娜·夸爾斯的《你不想摘我蘋果樹上的果實》以流動的抽象形態讓觀眾自行尋找意義。她的人體四肢消失並看似交織在軀體的表面上，融合在充滿活力的非傳統色彩圖案之中。夸爾斯的作品挑戰傳統的性慾和性別標記，創造不斷轉變的動態場景。

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夸爾斯出生於不同種族的父母，並為酷兒女性，利用個人經驗挑戰了傳統藝術史敘事和社會規範。她的作品經常打破觀眾的期望，而她挑釁性的風格容易與阿希爾·戈爾基相提並論，突破具象藝術和肖像藝術的界限。作品標題取材自艾瑞卡·巴杜在1990年代的熱門騷靈單曲《蘋果樹》，而這是一首歌頌個性和自信心的歌曲：「我挑選我的朋友就像我挑選水果一樣……我工作是為了取悅我自己，因為我不能取悅你」以上歌詞與夸爾斯的自力更生和個人賦權的主題產生強烈共鳴。

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奈良美智，《O.T (N.G)》，1993年作
\n估價：2,500,000 – 3,500,000港元 / 321,000 – 449,000美元

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現代及當代藝術日間拍賣，6月1日

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引人注目的《O.T (N.G)》是奈良美智的典範之作，展示了這位日本藝術家最受尊敬的多樣獨特視覺語言。畫面中央是一個看似天真的孩子，梳著紅色小辮，著一襲藍色小裙，與簡約而鮮豔的柑橘色背景相映成趣。這個角色的拘謹姿勢、泛紅臉頰暗示一種純潔感。然而，其敘事卻比表面上看起來要更為複雜，尤其見於這孩子發起對峙的杏仁形眼睛。畫中的童年純真與複雜脆弱之情感形成強烈對比，更是奈良美智標誌性肖像畫的明確印記。

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小女孩的頭上似乎頂著是一個有生命物，看似倒置的睡蓮葉。同一主題讓人想起僅在日本北部才有的特定物種，但也作為象徵成年主題的隱喻。《O.T (N.G)》中的女孩以濃重的黑色輪廓為框架，也是他這一時期的作品標誌；而她所居住的空間無縫地連接了平面繪畫、充滿活力的插圖漫畫世界，以及豐富的繪畫質感。

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奈良的藝術經常反映其孤獨的童年，充滿反叛及自我隔離。奈良美智曾於杜塞爾多夫的藝術學院學習，並在新表現主義畫家A.R. 彭克的指導下，更進一步以單色背景簡化和突出他的主題，與他早期的複雜構圖對比呈現了重大變化。

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KAWS，《非常清晰》，2010年作
\n估價：2,500,000 – 3,500,000港元 / 321,000 – 449,000美元

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現代及當代藝術日間拍賣，6月1日

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「我完全沒有看到海綿寶寶......我正將它抽象化並使它更凸顯顏色和形狀」。— KAWS

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KAWS 的畫作《非常清晰》透過抽象視覺，重新想像「海綿寶寶」這一標誌性角色，提供緊密裁剪的角度，呈現其豐富表情的臉孔。儘管所有特徵幾乎一掃而空，但該角色仍可被一眼認出。KAWS 巧妙地將經典動畫的鮮明美學與現代主義繪畫大膽融合，創造出既有趣又精緻的作品。他在海綿寶寶的臉上添加了標誌性X形眼睛，為這件作品添加獨特記認，使其成為藝術與流行文化的結晶，令人難忘。

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拍品於2011年在奧爾德里奇當代美術館首次展出，而本畫作是一個更大的藝術裝置的一部分，其中包括多個其他「海綿寶寶」的修改版本：這些作品探索了角色的不同面貌，有些以明亮的蒙德里安風格的藍色或黃色條紋打斷構圖，成為不同的幾何形態。KAWS既是塗鴉藝術家，也是動畫師，如此背景造就他獨一無二的風格，將高雅藝術與流行文化融為一體，使他成為當今最有影響力的藝術家之一。

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德里克·福德約，《一上二下》，2016年作
\n估價：2,000,000 – 3,000,000港元 / 256,000 – 385,000美元

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現代及當代藝術日間拍賣，6月1日

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德里克·福德約2016年作品《一上二下》描繪三個女性人物，猶如運動員或啦啦隊隊員，反映藝術家對不平等權力的主題情有獨鍾。其中一人站在另外兩人的膝蓋上，兩人後傾靠向地面並被推向兩側，而她則站在中間：高高在上的位置，只能在另外兩個人自願支持的情況下得以成立，象徵著社會結構的既定慣例和各種不平等。雖然背後十二條明亮的粉白條紋營造出馬戲團或大型比賽般的氛圍，令人聯想到喬治·修拉作品《馬戲》，但圖紋也讓人聯想到一面倒掛的美國國旗，暗示了這個國家歷史的複雜性。

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福特約的作品經常涉及權力、脆弱和不平等等主題，取材自作為加納移民後代和當代美國黑人的個人經驗。他的創作技巧包括在畫布和報紙下方塗上硬紙板，在添加更多紙張和顏料之前，又將部分報紙刮掉，為每幅畫創造不同的層次，然後以刮掉的部分揭示「被嵌入的歷史」。透過正視和隱藏作品中的各種元素，福特約迫使觀者反思支持和主導的多方面本質，促請對於權力如何在不同語景下建構和維持的更深入了解。

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Invader，《魔方綠色幽靈》，2008年作
\n估價：1,200,000 – 2,200,000港元 / 154,000 – 282,000美元

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現代及當代藝術日間拍賣，6月1日

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Invader作品《魔方綠色幽靈》體現了藝術家將街頭藝術與數位文化的獨特融合。藝術家以像素化馬賽克設計而聞名，而該設計受著復古電子遊戲和標誌性流行文化人物所啟發。自1990 年代末以來，Invader已成為當代街頭藝術的傑出人物。與班克斯齊名，Invader同樣保持匿名，經常夜間工作，在城市外牆上安裝他的馬賽克，讓大眾在傳統畫廊和博物館之外的公共空間能夠接觸藝術。

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《魔方綠色幽靈》使用已解決的魔術方塊創建，描繪了經典電玩遊戲《吃豆人》的主要對手之一。每個立方體由九個區塊或像素組成，形成幽靈輪廓的一部分，保持了Invader風格的像素化美學核心。這種方法呼應了早期的數位藝術形態和喬治·修拉作品的點彩派技巧，其中各點從遠處創造凝聚的圖像。

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Invader的作品強調了電子遊戲角色的文化意義，將它們定位為數位科技主導時代的現代偶像。他的公共裝置遍佈33個國家、65 個城市，讓觀者與城市環境對話，將日常空間轉化為互動藝術體驗。

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肯尼·沙夫，《誇克》，2021年作
\n估價：700,000 – 1,000,000港元 / 89,700 – 128,000美元

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現代及當代藝術日間拍賣，6月1日

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肯尼．沙夫的《誇克》設想了一個在各個層面都充滿活力和創意的自由世界，體現了其流行文化與抽象表達的標誌性融合。作品標題引用形成各種物質的亞原子，但這個詞本身來自詹姆斯．喬伊斯的《芬尼根的守靈夜》，反映了沙夫不拘一格的靈感。沙夫融合歐洲藝術影響與大眾媒體，透過添加外星人般的面孔，將抽象繪畫轉化為生動的構圖。同時，這些外星面孔被發光圖案包圍，向他的塗鴉藝術和街頭藝術背景致敬。

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《誇克》以旋轉線條和生動色調為特色，創造一個動態的分形遊樂場，其中出現了卡通面孔，呼應了巴素·禾費頓的豐富怪誕和漢娜·巴伯拉的異想天開式創作。這種風格和影響的融合，產生了視覺上引人注目的畫面，邀請觀者在每次觀看時發現新的模式和細節。沙夫的創作靈感來自童年時期的視覺解構習慣，並且不斷發展，保持難以遏制的歡樂力量，挑戰傳統藝術的界限。

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現代及當代藝術晚間拍賣，5月31日 7pm HKT

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現代及當代藝術日間拍賣, 6 月1 日 2pm HKT

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代代相傳的標記：藝術家筆下軌跡>

\n","2024-05-27T06:44:26.000000Z","https://www.phillips.com/article/144991300/faces-throughout-the-eras-mca-052024-cn",2180,4581,144991300,{"_1218":1283,"_1220":231,"_1221":1284,"_514":1285,"_1224":1286,"_1226":1287,"_1228":1229,"_1230":1231,"_1232":470,"_1233":1288,"_462":72,"_1235":1289,"_1237":1290,"_1239":1291},"https://flockler.com/thumbs/sites/889/basquiat-lead-2-fcfe7377-97c4-4052-8049-496eb68ebbf2_s600x0.jpg","\nLegendary gallerist Annina Nosei joins Phillips’ Scott Nussbaum at 432 Park Avenue to discuss her memories of Jean-Michel Basquiat and the artist’s three magnificent paintings on offer at Phillips this spring.","VIDEO: Annina Nosei on Basquiat","

Annina Nosei at Phillips New York with Scott Nussbaum, Deputy Chairman, Americas and Senior International Specialist, Modern & Contemporary Art.

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Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, Amorites on Safari, 1982 is on offer at Phillips’ Modern & Contemporary Art Evening Sale on 31 May in Hong Kong.

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Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, Amorites on Safari, 1982. Modern & Contemporary Art Evening Sale Hong Kong.

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In Jean-Michel Basquiat’s Native Carrying Some Guns, Bibles, Amorites on Safari, 1982, a Black figure dominates the canvas, arms raised to the sky, confronting a colonial poacher. The present artwork evinces Basquiat's visual poetry, as layered linguistic meaning intertwines with vivid imagery to provoke thought and reflection on themes including slavery and empire. The exposed stretcher enhances its gritty narrative, infusing it with a raw, unrestrained essence and a near-sculptural presence characteristic of Basquiat’s celebrated stretcher paintings. Reduced to caricatures, Basquiat’s figures symbolise 'native' and 'coloniser.' They stand as a poignant critique of colonial commerce, encapsulating broader themes of colonisation, commercialisation, and African American history. In Native Carrying Some Guns, Bibles, Amorites on Safari, Basquiat's art amalgamates diverse cultural influences, ranging from the Bible to African tribal masks, with textual references to money, value, authenticity, and ownership. This synthesis creates a unique iconography reflective of his New York experience as well as his Caribbean ethnicity and West-African heritage.

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Discover More >

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Recommended Reading

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The Icons of an Icon >

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BASQUIAT: Property from the Collection of Yusaku Maezawa >

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\n","2024-05-17T13:45:49.000000Z","https://www.phillips.com/article/144637303/video-annina-nosei-on-basquiat-art-auction-hong-kong",2162,4568,144637303,{"_1218":1293,"_1220":231,"_1221":1294,"_514":1295,"_1224":1296,"_1226":1297,"_1228":1247,"_1230":1231,"_1232":470,"_1233":1298,"_462":723,"_1235":1299,"_1237":1300,"_1239":1301},"https://flockler.com/thumbs/sites/889/basquiat-lead-2-fcfe7377-97c4-4052-8049-496eb68ebbf2-e2c67cf9-4a63-4695-b4f4-6aed7d292ef2_s600x0.jpg","巴斯奇亞首位經理人安妮娜·諾賽伊（Annina Nosei）與富藝斯的Scott Nussbaum於紐約公園大道432號的富藝斯紐約總部會面，諾賽伊回憶她與巴斯奇亞之間的點滴，以及於1980年代初把藝術家的三幅傑作售予給弗朗西斯科‧佩利齊的經過。","精選視頻: 畫廊主理人Annina Nosei 的巴斯奇亞故事","

巴斯奇亞首位經理人安妮娜·諾賽伊與富藝斯的Scott Nussbaum暢談她與巴斯奇亞之間的點滴，以及春季拍賣的三幅巴斯奇亞作品。

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富藝斯於5月31日香港晚間拍賣呈獻尚·米榭·巴斯奇亞1982年作品《亞摩利人獵遊》。

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尚·米榭·巴斯奇亞，《亞摩利人獵遊》,1982年作.

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現代及當代藝術香港晚間拍賣

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《亞摩利人獵遊》的畫中主角是一名高舉雙臂的黑人，與畫面描繪的偷獵者對峙。此作將複雜的繪圖技巧與街頭藝術的姿態融為一體，並探討了帝國與奴隸制度等歷史議題。透過繪圖與文本的結合，巴斯奇亞評論殖民商業，並廣泛探索殖民化、商業化及非裔美國人歷史等主題。畫面中漫畫似的人物肖像象徵著「土著」與「殖民者」，藉此強而有力的視覺表達，明確地批判了白人帝國優越主義。《亞摩利人獵遊》反映藝術家對社會文化環境的敏銳認知，亦是巴斯奇亞極具代表性的作品，捕捉其具有強烈時代感的美學及藝術視野。

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了解更多

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\n","2024-05-24T04:31:19.000000Z","https://www.phillips.com/article/144885657/video-annina-nosei-on-basquiat-art-auction-hong-kong-cn",2176,4575,144885657,{"_1218":1303,"_1220":231,"_1221":1304,"_514":1305,"_1224":1306,"_1226":1307,"_1228":1229,"_1230":1231,"_1232":470,"_1233":1308,"_462":1141,"_1235":1309,"_1237":1310,"_1239":1311},"https://flockler.com/thumbs/sites/889/basquiat-install-b21fe7d7-e62a-4033-82a0-b0b93fd7fde8_s600x0.jpg","Decoding the symbols and meanings in three remarkable works by Jean-Michel Basquiat from 1981–1982.","The Icons of an Icon","

Jean-Michel Basquiat, Untitled (Portrait of Famous Ballplayer), 1981 (left) and Untitled (ELMAR), 1982 (right) on view at Phillips New York. Modern & Contemporary Art Evening Sale New York.

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The symbols seen in the works of Jean-Michel Basquiat form a visual lexicon that has become a ubiquitous part of contemporary culture. From crowns, masks, and skulls to snakes, warriors, and ballplayers, his iconography endures well beyond the canvas, adorning luxury items and mass market goods alike. But what are the connotations of these symbols and are the associations they seem to denote what Basquiat directly intended by them?

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Approaching the answers requires the weaving of a complex tangle of associations. Seen as a whole, the various iconographic symbols in Basquiat’s compositions are utterly communicative, but they are so resonant with each other across all his works that it can be challenging to pin down exactly what they express individually. Basquiat was an omnivorous lover of history and lifelong researcher and observer of culture and art — ranging from the Haitian and Puerto Rican cultures of his own background to Medieval Christian traditions, the Warholian notion of celebrity, Rauschenberg’s sense of accumulation, De Kooning and Pollock’s approach to abstraction, Charlie Parker’s improvisation, early hip-hop, modern urban life, and more. Drawing on this myriad of influences, he imbued his works with a diverse and recurring sequence of allusive signs that make viewers feel intuitively clued-in, even if their definitive meanings can remain poetically elusive. This is perhaps the principal reason why his works consume the attention of viewers in any room in which they are placed. In short, they seem to speak with a distinctly human voice, ultimately feeling as ancient as the paintings in the caves of Lascaux, yet as new as anything made today.

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To explore these ideas, we look to three magnificent works from the artist’s pivotal years of 1981 and 1982 — Untitled (ELMAR), Untitled (Portrait of Famous Ballplayer), and Native Carrying Some Guns, Bibles, Amorites on Safari, each formerly from the original collection of Francesco Pellizzi and the Pellizzi Family. A writer, scholar, anthropologist, and collector, Mr. Pellizzi was the co-founder and editor of the journal Res, Anthropology and Aesthetics, published by the Peabody at Harvard and Chicago University Press. He acquired these works in the early 1980s from Annina Nosei — Basquiat’s first gallerist — and they remained in his collection for decades. They are on offer in public for the first time this May at Phillips’ Modern & Contemporary Art Evening Sales in New York and Hong Kong. Together, these three works provide a striking opportunity for us to discover just what Basquiat’s inextinguishable voice intones.

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From Iconic Street Artist to Rising Star of the Art World

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Jean-Michel Basquiat, Untitled (ELMAR), 1982. Modern & Contemporary Art Evening Sale New York.

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The years these works were made — 1981 and 1982 — were transformative for Basquiat, as he was caught up in a meteoric ascension from street artist to an almost mythic figure of renown within the global art world. Considering the practice of street artists leads us to question how and why these artists employ a personal iconography to communicate. The risks associated with creating such work present an inherent need to produce imagery simply and quickly — imagery that is paired down to its core — and to build a set of distinctive symbols or text that combine with an approach to color, line, and form that immediately identifies an artist’s work to those who see it in public, often repeatedly and in series.

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This exploration of ideas in visual units proved fruitful for Jean-Michel Basquiat, an artist known to have been a voracious consumer of culture past and present, from books on a multitude of subjects through to nearly all genres of music, television, film, and more. Looking at these pivotal paintings, we find several visual ideas Basquiat explored in his early street art days — particularly in his depiction of rounded, stylized heads and his approach to text — but can observe their transcendence within the fine art context; one in which the young artist would have been strongly aware of the fact that his works now had a sense of permanence, no longer at risk of erasure by authorities or other street artists.

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From this vantage point, a unique similarity emerges between street art and the world of fine art galleries. In street art’s use of signs and symbols of personal iconography to communicate directly to a particular population of well-informed people, it finds a parallel in certain aspects of the fine art ecosystem that can be seen to do the same — but perhaps for a different group of people. In essence, just as there is a colorful world of people-in-the-know within the realm of a street art context, so too is there within the highest echelons of the art world. And one of the elements that makes Basquiat’s works so culturally resonant is that he was able to communicate to both with great facility.

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Jean-Michel Basquiat, Untitled (Portrait of Famous Ballplayer), 1981. Modern & Contemporary Art Evening Sale New York.

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The often flattened and graphic manner in which Basquiat executed symbols and words seems cartographic at times, as if to imply relationships between them. One can find such connections between the hunter and the hunted in Untitled (ELMAR) and Native Carrying Some Guns, Bibles, Amorites on Safari or between the tools of the iconic athlete (in this case baseballs) and the elevating social function of crowns in Untitled (Portrait of Famous Ballplayer). But the sheer proliferation of symbols and text, both within individual works and across Basquiat’s work as a whole, can add ambiguity to their meanings. In their pure visual relationships to each other, even within a single work, they contain multitudes of intentions and associations that are often elevated, functioning at a level above simple text, image, or glyph. This is something Professor Pellizzi understood well, writing in his 1989 essay Black and White All Over: Poetry and Desolation Painting: “There is no way to make sense of the sum of all this, nor can it be reduced to any of its parts, for there is no hierarchy to guide us in distinguishing what is central from what is peripheral.”

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Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, Amorites on Safari, 1982. Modern & Contemporary Art Evening Sale Hong Kong.

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Symbols and Meanings

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The “warrior” figure, his face depicted as a skull, wearing a crown of thorns. Jean-Michel Basquiat, Untitled (ELMAR) (detail), 1982. Modern & Contemporary Art Evening Sale New York.

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To begin to decode the meanings suggested by the symbols in these works, we first consider the image of the head, and by extension its relationship to other important iconography in Basquiat’s works — skulls, masks, and crowns. In Untitled (ELMAR), a warrior-like figure — a recurrent symbol in Basquiat’s works — is depicted at right, its head expressed by a skull. The collage-like treatment here adds emphasis, like an accented note in a Bepop trumpet solo, and it stands in contrast to the rest of the painting’s surface texture. The recurrence of skulls and bones in Basquiat’s work traces back to his early interest in anatomy, having pored over the book Gray’s Anatomy as he recovered from a childhood accident. In Untitled (Portrait of Famous Ballplayer), the prominent anonymized face of a Black athletic icon is obscured, his expression seemingly erased. Elsewhere in the painting, masks are pervasive and often topped with crowns, at once readable as the faces of an adoring crowd or the clamoring, antagonistic gatekeepers of culture. And in Native Carrying Some Guns, Bibles, Amorites on Safari we find that Basquiat’s rendering of the left figure’s countenance is mask-like.

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Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, Amorites on Safari, 1982 (detail of the figure at left). Modern & Contemporary Art Evening Sale Hong Kong.

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In these symbols, we can observe varying approaches to a visual expression of identity. For example, we can consider masks as a metaphor for the outward construction we employ in a battle with how we are perceived. This contrasts with the notion of the skull which can be seen to function as the innate structure on which our flesh and identities are constructed. Both masks and skulls impart a multitude of connotations and can be considered in relation to the African and Indigenous spiritual practices that Basquiat studied, and even referential to the memento mori of Western art historical traditions. For Basquiat at this time, such considerations of identity would have been top of mind as he metaphorically battled with culture, ever aware of how he was being presented and perceived.

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Baseballs and masks adorned with crowns. Jean-Michel Basquiat, Untitled (Portrait of Famous Ballplayer), 1981 (details). Modern & Contemporary Art Evening Sale New York.

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The use of the crown in Basquiat’s work can elevate figures to a higher metaphysical and spiritual plane — crowning the idea of a Black King within the world of athletics in Untitled (Portrait of Famous Ballplayer) and adding significance to the message atop the Native figure’s sign in Native Carrying Some Guns, Bibles, Amorites on Safari. We can consider this in contrast to the concept of the crown of thorns (another recurring motif in Basquiat’s work) on both the “warrior” and “fallen angel” figures in Untitled (ELMAR), each employing a Christian allusion to denote a downfall. Again we can consider these ideas within the actuality of Basquiat’s own life at the moment these works were executed. Basquiat wore his newfound celebrity proudly but with an increasing fear that he would fall from the graces of a vapid culture, well aware of the fact that his metaphorical crown of stardom may in fact be a crown of thorns.

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The bird-like “fallen angel” figure wearing a crown of thorns. Jean-Michel Basquiat, Untitled (ELMAR) (detail), 1982. Modern & Contemporary Art Evening Sale New York.

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In these three works, the ways symbols function together are rich with meaning, with the symbols often having a resonance in contradiction with each other. For instance, on close consideration of the relationship between the idea of the hunter and the hunted — seen between the “warrior” figure and the “fallen angel” in Untitled (ELMAR) and between the Native and colonial military figures in Native Carrying Some Guns, Bibles, Amorites on Safari — the distinction between the two ideas can collapse, as by their very nature warriors are also hunted. In considering the bird-like “fallen angel” motif in Untitled (ELMAR), this contradiction is inherent, conjuring the recollection that several noteworthy angels in the Abrahamic religious traditions were themselves warriors. Further, the arrows of weaponry in Untitled (ELMAR) and the directional arrows in Native Carrying Some Guns, Bibles, Amorites on Safari both visually function to connect opposing sections of the canvas, creating movement and direction, but they also form paths between ideas, drawing attention to their complex interplay both visually and ideologically.

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Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, Amorites on Safari, 1982 (detail of arrows and text). Modern & Contemporary Art Evening Sale Hong Kong.

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Basquiat’s incorporation of text is seen throughout these three works, but particularly in Native Carrying Some Guns, Bibles, Amorites on Safari. In these works, text also seems to have symbolic function, perhaps due to its placement in proximity to figures and symbols that seem to have speaking power. The artist’s treatment of text as a basic visual material and his careful choice of words, paired with his act of crossing out certain terms for emphasis, creates encoded messages that speak to us in a similar way as his figures. As Pellizzi explains in the aforementioned essay, Basquiat’s words function “like a spell, they can bring things into being and also make them intelligible, can ‘mean’ something and also actually evoke it. In short, it is a sort of depiction, through painting, of language as poetry.”

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We also find in these works that for Basquiat, any binary approach towards an understanding of abstraction and figuration dissolves. Basquiat’s iconographic figures are flattened, their meanings abstracted, schematized like a secret code. His approach to painting treats his figures and icons as objects that are as notional and physical as a thrown splash of paint by Jackson Pollock or Joan Mitchell. As Pellizzi explains, Basquiat’s approach to making art can be considered as “a sort of action painting whose starting elements are clusters of primary images and word images right off the brush rather than drips of primary color right out of the can.”

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A Personal Language

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Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, Amorites on Safari, 1982. Modern & Contemporary Art Evening Sale Hong Kong.

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All told, the iconographic imagery within Basquiat’s works forms a visual idiom that is lexical. It communicates like a language that teaches us more about itself as we spend more time with it, rather than imparting a definitive meaning in totality. Perhaps best explained again by Mr. Pellizzi, in his 1989 essay he refers to Basquiat’s iconography as “sign-constructions” that, through the artist’s miraculous painterly skill, attain the functional state of “speaking objects.” This notion conjures the idea of sound and rhythm — some of the basic materials of music, an artform which Basquiat held dear.

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The implementation of these “speaking objects” within the context of Basquiat’s spontaneous and improvisational painting practice presents further opportunity for musical analogies that can help decode the artist’s use of a characteristic iconography. In a sense, Basquiat assembled this set of icons, signs, and symbols as part of a personal repertoire, much in the way a jazz musician collects melodic fragments, musical scales from various cultures, and ways of subverting the traditional functions of harmonies — each with a set of connotations that are masked by the musician’s internalization of these sounds within their own musical identity. The directness of both examples stems from an impression that these building blocks of a style or language are primal and innate rather than learned, whereas in fact, the musical materials assembled in the inner ear of a great jazz musician like Basquiat’s hero Charlie Parker were carefully studied, referential to generations of culture, and intentionally prepared to be deployed on the artist’s instrument in a flurry of spontaneous improvisation. For Basquiat, we can see that the same was true, including the creative impulse and directness of approach, but it would be shortsighted to assume his visual materials had not been carefully studied and considered as they were internalized over the years of his practice. And in both cases, the immediate yet ostensibly unrefined nature of the final creative act showcases just how thoroughly each artist absorbed these allusions and reference points within their own expressive identities.

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These three works stand as a testament to how compelling and communicative Basquiat’s idiomatic visual language can be. Seen together, the function of iconography in them holds up to the very best of the artist’s works, encompassing imagery that is elemental and allusive. What is perhaps most extraordinary is that though these works draw from and are indebted to a multiplicity of traditions within visual culture, they are not remotely derivative of any one of them, as Basquiat’s cultural receptivity was as strong as his faith in his own artistic identity. With these three paintings, Basquiat absorbed a rich cultural history and weaved it into his own visual signature, creating enchanting works that possess an unquestionable power of voice.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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BASQUIAT: Property from the Collection of Yusaku Maezawa >

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Artists to (Re)discover >

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When the Old Is New Again >

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Ephemeral Beauty

Collector’s Digest

Yayoi Kusama

Yayoi Kusama, INFINITY NETS (ZGHEB), 2007. Estimate: HK$20,000,000 – 30,000,000 / US$2,560,000 – 3,850,000. Modern & Contemporary Art Evening Sale, 31 May.

Yayoi Kusama, Pumpkin, 1982. Estimate: HK$3,200,000 – 4,200,000 / US$410,000 – 538,000. Modern & Contemporary Art Day Sale, 1 June.

Zao Wou-Ki

Zao Wou-Ki, 30.09.97, 1997. Estimate: HK$6,000,000 – 10,000,000 / US$769,000 – 1,280,000. Modern & Contemporary Art Evening Sale, 31 May.

Zao Wou-Ki, 25.11.81, 1981. Estimate: HK$7,000,000 – 10,000,000 / US$897,000 – 1,280,000. Modern & Contemporary Art Day Sale, 1 June.

Gerhard Richter

Gerhard Richter, Abstraktes Bild (947-5), 2016. Estimate: HK$26,000,000 – 36,000,000 / US$3,330,000 – 4,620,000. Modern & Contemporary Art Evening Sale, 31 May.

Park Seo-Bo

Park Seo-Bo, Écriture No. 67-78-79, 1979. Estimate: HK$3,500,000 – 5,500,000 / US$449,000 – 705,000. Modern & Contemporary Art Evening Sale, 31 May.

Park Seo-Bo, Ecriture No. 110507, 2011. Estimate: HK$1,800,000 – 2,800,000 / US$231,000 – 359,000. Modern & Contemporary Art Day Sale, 1 June.

Lucy Bull

Lucy Bull, Claps Jaw, 2019. Estimate: HK$2,800,000 – 3,500,000 / US$359,000 – 449,000. Modern & Contemporary Art Evening Sale, 31 May.

\nLauren Quin

Lauren Quin, Second Mercury Mounts, 2020. Estimate: HK$450,000 – 550,000 / US$57,700 – 70,500. Modern & Contemporary Art Evening Sale, 31 May.

\nAndy Warhol

Andy Warhol, Dollar Sign, 1981. Estimate: HK$2,800,000 – 3,800,000 / US$359,000 – 487,000. Modern & Contemporary Art Day Sale, 1 June.

Atsuko Tanaka

Atsuko Tanaka, 88D, 1988. Estimate: HK$1,400,000 – 2,400,000 / US$179,000 – 308,000. Modern & Contemporary Art Day Sale, 1 June.

\nAnna Park

Anna Park, Untitled, 2021. Estimate: HK$1,200,000 – 2,200,000 / US$154,000 – 282,000. Modern & Contemporary Art Day Sale, 1 June.

草間彌生

草間彌生，《無限網（ZGHEB）》，2007年作

估價：20,000,000 – 30,000,000港元 / 2,560,000 – 3,850,000美元

現代及當代藝術晚間拍賣，5月31日

草間彌生，《南瓜》，1982年作

估價：3,200,000 – 4,200,000港元 / 410,000 – 538,000美元

現代及當代藝術日間拍賣，6 月1 日

趙無極

趙無極，《30.09.97》，1997年作

估價：6,000,000 – 10,000,000港元 / 769,000 – 1,280,000美元

現代及當代藝術晚間拍賣，5月31日

趙無極，《25.11.81》，1981年作

估價：7,000,000 – 10,000,000港元 / 897,000 – 1,280,000美元

現代及當代藝術日間拍賣，6 月1 日

格哈特·里希特

格哈特·里希特，《抽象畫（947-5）》，2016年作

估價：26,000,000 – 36,000,000港元 / 3,330,000 – 4,620,000美元

現代及當代藝術晚間拍賣，5月31日

朴栖甫

朴栖甫，《描法第67-78-79號》，1979年作

估價：3,500,000 – 5,500,000港元 / 449,000 – 705,000美元

現代及當代藝術晚間拍賣，5月31日

朴栖甫，《描法第110507號》，2011年作

估價：1,800,000 – 2,800,000港元 / 231,000 – 359,000美元

現代及當代藝術日間拍賣，6 月1 日

露西·布爾

露西·布爾，《下顎拍擊》，2019年作

估價：2,800,000 – 3,500,000港元 / 359,000 – 449,000美元

現代及當代藝術晚間拍賣，5月31日

勞倫·奎恩

勞倫·奎恩，《第二水星之升》，2020年作

估價：450,000 – 550,000港元 / 57,700 – 70,500美元

現代及當代藝術晚間拍賣，5月31日

安迪·沃荷

安迪·沃荷，《美元符號》，1981年作

估價：2,800,000 – 3,800,000港元 / 359,000 – 487,000美元

現代及當代藝術日間拍賣，6 月1 日

田中敦子

田中敦子，《88D》，1988年作

估價：1,400,000 – 2,400,000港元 / 179,000 – 308,000美元

現代及當代藝術日間拍賣，6 月1 日

安娜·帕克

安娜·帕克，《無題》，2021年作

估價：1,200,000 – 2,200,000港元 / 154,000 – 282,000美元

現代及當代藝術日間拍賣，6 月1 日

KAWS, PAY THE DEBT TO NATURE, 2010.\nEstimate: HK$ 7,500,000 – 12,000,000 / US$ 962,000 – 1,540,000.

Modern & Contemporary Art Evening Sale, 31 May.

André Butzer, Untitled, 2020.\nEstimate: HK$ 700,000 – 900,000 / US$ 89,700 – 115,000.

Modern & Contemporary Art Evening Sale, 31 May.

Jonas Wood, Wimbledon 1, 2011.\nEstimate: HK$ 2,000,000 – 4,000,000 / US$ 256,000 – 513,000.

Modern & Contemporary Art Evening Sale, 31 May.

Xia Yu, It's Learning Time, 2020.\nEstimate: HK$ 500,000 – 700,000 / US$ 64,100 – 89,700.

Modern & Contemporary Art Evening Sale, 31 May.

Christina Quarles, Yew Don' Wanna Pick From My Apple Tree, 2021.\nEstimate: HK$ 3,500,000 – 5,500,000 / US$ 449,000 – 705,000.

Modern & Contemporary Art Evening Sale, 31 May.

Yoshitomo Nara, O.T (N.G), 1993.\nEstimate: HK$ 2,500,000 – 3,500,000 / US$ 321,000 – 449,000.

Modern & Contemporary Art Day Sale, 1 June.

KAWS, PAY THE DEBT TO NATURE, 2010.
\nEstimate: HK$ 7,500,000 – 12,000,000 / US$ 962,000 – 1,540,000.

André Butzer, Untitled, 2020.
\nEstimate: HK$ 700,000 – 900,000 / US$ 89,700 – 115,000.

Jonas Wood, Wimbledon 1, 2011.
\nEstimate: HK$ 2,000,000 – 4,000,000 / US$ 256,000 – 513,000.

Xia Yu, It's Learning Time, 2020.
\nEstimate: HK$ 500,000 – 700,000 / US$ 64,100 – 89,700.

Christina Quarles, Yew Don' Wanna Pick From My Apple Tree, 2021.
\nEstimate: HK$ 3,500,000 – 5,500,000 / US$ 449,000 – 705,000.

Yoshitomo Nara, O.T (N.G), 1993.
\nEstimate: HK$ 2,500,000 – 3,500,000 / US$ 321,000 – 449,000.

KAWS, PERFECTLY CLEAR, 2010.
\nEstimate: HK$ 2,500,000 – 3,500,000 / US$ 321,000 – 449,000.

Derek Fordjour, One Up Two Down, 2016.
\nEstimate: HK$ 2,000,000 – 3,000,000 / US$ 256,000 – 385,000.

Invader, Rubik Green Ghost, 2008.
\nEstimate: HK$ 1,200,000 – 2,200,000 / US$ 154,000 – 282,000.

Kenny Scharf, Quark, 2021.
\nEstimate: HK$ 700,000 – 1,000,000 / US$ 89,700 – 128,000.

KAWS，《對自然的償還》，2010年作
\n估價：7,500,000 – 12,000,000港元 / 962,000 – 1,540,000美元

安德烈·布斯爾，《無題》，2020年作
\n估價：700,000 – 900,000港元 / 89,700 – 115,000美元

喬納斯·伍德，《溫布頓 1號》，2011年作
\n估價：2,000,000 – 4,000,000港元 / 256,000 – 513,000美元

夏禹，《是學習時間》，2020年作
\n估價：500,000 – 700,000港元 / 64,100 – 89,700美元

克里斯蒂娜·夸爾斯，《你不想摘我蘋果樹上的果實》，2021年作
\n估價：3,500,000 – 5,500,000港元 / 449,000 – 705,000美元

奈良美智，《O.T (N.G)》，1993年作
\n估價：2,500,000 – 3,500,000港元 / 321,000 – 449,000美元

KAWS，《非常清晰》，2010年作
\n估價：2,500,000 – 3,500,000港元 / 321,000 – 449,000美元

德里克·福德約，《一上二下》，2016年作
\n估價：2,000,000 – 3,000,000港元 / 256,000 – 385,000美元

Invader，《魔方綠色幽靈》，2008年作
\n估價：1,200,000 – 2,200,000港元 / 154,000 – 282,000美元

肯尼·沙夫，《誇克》，2021年作
\n估價：700,000 – 1,000,000港元 / 89,700 – 128,000美元

19Ж︎

Huang Yuxing

Bubbles

Further Details

Full-Cataloguing

Huang Yuxing