Charlotte Raybaud
\nSpecialist, Head of Evening Sale
\n+852 2318 2026
\nCharlotteRaybaud@phillips.com

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Working almost exclusively within a monochromatic palette, Anna Park’s charcoal and graphite creations are visually arresting, kaleidoscopic stills, ones which dangle at the precipice between reverie and memory, straddling figuration and abstraction. Each work contains angular, fragmented bodies stuffed to the brim, as we are met with familiar scenes from shared memories of parties, barbeques, musical performances—vestiges of ‘humanity at its finest’, according to the artist.ⁱ Though still in her twenties, Park’s mature oeuvre has already become part of the collection of Brian Donnelly (KAWS) (having seen Park’s work displayed at the New York Academy of Art), as well as that of institutions such as the Museum of Fine Arts, Houston; the High Museum of Art, Atlanta; and the Institute of Contemporary Art, Miami. The artist has also had recent solo exhibitions at Blum & Poe Gallery in Tokyo, and Half Gallery, New York.

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\"\" — Installation from Anna Park’s recent show *Hello, Stranger* at Blum & Poe Gallery, Tokyo, 1 September – 9 October 2021

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“Rather than depicting any specific moments, I want to present instances of uncertain chaos…I guess it's kind of how I feel with a lot of things that happen; where a level of anxiety goes hand-in-hand with the unpredictable nature of life.”
\n— Anna Park

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Chaos Through the Looking Glass

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Anna Park’s pieces remind one of giddy mirages from a night of unfettered debauchery—each image possesses the qualities of peering through glass, as characters and objects become warped or exaggerated. According to the artist, she first trawls the internet for stock imagery as inspiration, then zeroes in on aspects of the photos that draw her in the most, and finally integrates imagination with the pieces she finds: 'I find it funny how searching up such benign statements on the internet provides an endless amount of unexpected (and at times disturbing) content.' ⁱⁱ The results are not unlike that which can be found in I to I. In the present work, a pair of women seem to be swaying arm in arm, as a male figure can be seen off to their side, either trying to engage in the pair, or to clasp onto one of them. It is unclear whether this attention is unwarranted, and an onlooker peers in the background, their eyes darting towards the scene.

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Though ever so subtle, Park’s work is embedded with a clever cynicism that perhaps even critiques our contemporary society. I to I, so reminiscent of an intrusive, unplanned paparazzi-angled shot, forces its viewer to confront an uncertain setting: are we looking at two celebrities in varying levels of inebriation, stumbling out of or into a limousine, clutching their jewellery and purses, firmly steered by their bodyguard? Or, are we to fret for the unsteady women, scantily clad, being cajoled by a male bystander? Park’s puzzling work is filled with intrigue and deliberately so—her work quite literally captures the ‘grey areas’ of society, provoking us with their ambiguity. Even in her vague title, I to I, one thinks of the homophonic ‘eye to eye’—who is not seeing eye to eye, then? Or are we to believe that someone is suffering from some sort of internal turmoil, not seeing “I to I” with themselves?
\n

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Blurring the Divide

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Born in South Korea in 1996, the artist moved to the US with her family as a child. Drawing was a constant in her childhood, and into adulthood, after having left Pratt’s illustration and animation programme in favour of the New York Academy of Art’s more traditional art school education, Park’s work became wholly dedicated to the use of charcoal. She was drawn in to 'the quickness, the forgivingness' of charcoal, remarking on its malleability. Citing Cecily Brown as an early influence, Park would often create her own work with Brown’s catalogues open near her, her interviews playing in the background.
\n

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Like some other abstract artists, Park’s works began more figurative and loyal to their source material before they became their current iterations. Speaking on her creative process, the artist has commented: 'In the past, my work had been a lot more tightly rendered and it rarely deviated from the references I was working from. Gradually, I began to distort and abstract certain parts of the pieces that seemed to celebrate the mark making of charcoal more. It was only in the most recent body of work that I introduced a cartoon/caricature element, which reminded me of the characters I would draw as a little kid.' ⁱⁱⁱ By rendering her figures’ faces in cartoonish, ghoulish ways allows for an exaggerated treatment of the emotions and gestures of her characters—thrown into drastic contrast against the realistic backgrounds they are placed in. This juxtaposition can be keenly felt in I to I, where hyper-realistic details such as a clasped phone, the outlines of a hair scrunchie, a pronounced acrylic nail, all heavily differ from the smeared and drawn out faces of the individuals portrayed. All the above is paired with the artist’s reclaiming of charcoal—perhaps more associated with draftsmanship and sketching—a medium that specifically allows for the whimsical, dreamlike effect of Park’s style.

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“[F]or now, charcoal and graphite are my primary mediums. I feel as though the immediacy of charcoal really allows me to see my ideas come to life as soon as I conceive it. Being such a simple, straight forward medium, it presents a challenge to myself in how many different possibilities I can create visually with it.”
\n— Anna Park

\n\n

Having garnered increasing attention, Anna Park has spoken about her need for introspection: she has indicated dedicating time to hone her technique, or perhaps to explore her Korean heritage in future works. Curiously, in Park’s affinity for using charcoal as her chosen means of creation, she has engaged with a Korean tradition that views the material as possessing the power to keep out evil forces. The cultural significance of this comes as an unexpected link to exorcising “the chaotic, suffocating side” of society which has become part and parcel of Park’s work. Beyond the mere prowess of the artist’s hand, Park’s feverish compositions tiptoe close to social commentary, their evocations of various cultural moments sparking the imaginations of so many viewers.

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Collector’s Digest

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Excerpt from Sasha Bogojev, ‘A Conversation With Anna Park’, Juxtapoz, 13 May 2019:
\n

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Sasha Bogojev: Could you please describe your work process in terms of composing an image as well as a technical approach to drawing it on paper?
\n

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Anna Park: From the time I find an image that I like to the time I start drawing is not a very long time. I rarely do a lot of preliminary sketches; I think due to the fact that I'm just antsy to get started on a big sheet of paper. I begin by laying things out in a very gestural way and then I'll add in elements from other references if they seem to fit the composition. How I want the viewer's eye to travel around the piece is something that is always in the back of my mind.
\n

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S.B.: Do you see your work as humorous, provocative, a critique, or something else?
\n

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A.P.: I would see my work like snapshots into things we are all pretty used to; just in a demonic (and hopefully funny) light.
\n

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S.B.: What is the type of reaction or feedback you're hoping to get from the viewer?
\n

\n\n

A.P.: I hope to elicit some sense of familiarity with the viewer. Whether this reminds them of a party they've been to, or just being able to recognize any of the characters as their own self or someone they know. Or if anything, I hope they get a bit of a laugh out of it.

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ⁱ The artist quoted in Tess Thackara, ‘Anna Park’s Charcoal Drawings of the End of the World Have Earned Her Fans From Top Curators to KAWS. At 25, She’s Just Getting Started’, Artnet News, 12 October 2021
\nⁱⁱThe artist quoted in Sasha Bogojev, ‘A Conversation With Anna Park’, Juxtapoz, 13 May 2019
\nⁱⁱⁱ Ibid.

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\nAccepting Consignments until 31 May 2022>

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Macarrón",490000,"49","highlights",[1724,1729,1733,1737,1741,1745,1749],{"_585":1725,"_512":1726,"_1727":1728},"https://assets.phillips.com/auctions/HK010122/31_hi.jpg","

GEORGE CONDO The Strangers, 2009

\n","version","1654506357",{"_585":1730,"_512":1731,"_1727":1732},"https://assets.phillips.com/auctions/HK010122/32_hi.jpg","

GEORGE CONDO Transparent Female Forms, 2009

\n","1654506325",{"_585":1734,"_512":1735,"_1727":1736},"https://assets.phillips.com/auctions/HK010122/33_hi.jpg","

ZHANG XIAOGANG Bloodline Series - Big Family, 2006

\n","1654506292",{"_585":1738,"_512":1739,"_1727":1740},"https://assets.phillips.com/auctions/HK010122/34_hi.jpg","

ADRIAN GHENIE Pie Fight Study 4, 2008

\n","1654506246",{"_585":1742,"_512":1743,"_1727":1744},"https://assets.phillips.com/auctions/HK010122/35_hi.jpg","

EMMANUEL TAKU Brothers in Red, 2020

\n","1654506209",{"_585":1746,"_512":1747,"_1727":1748},"https://assets.phillips.com/auctions/HK010122/36_hi.jpg","

ED RUSCHA Spied Upon Scene: Window, 2017

\n","1654506177",{"_585":1750,"_512":1751,"_1727":1752},"https://assets.phillips.com/auctions/HK010122/37_hi.jpg","

LIU WEI Purple Air III No. 2, 2006

\n","1654506140",{},"articles",[1756,1780,1791,1802,1812,1822,1832,1842,1852,1862,1873],{"_1757":1758,"_1759":231,"_1760":1761,"_512":1762,"_1763":1764,"_1765":1766,"_1767":1768,"_1769":1770,"_1771":474,"_1772":1773,"_467":474,"_1774":1775,"_1776":1777,"_1778":1779},"coverUrl","https://flockler.com/thumbs/sites/889/20220616-karena0316-crop-d331650c-20c2-4690-96d5-4487dc81f819_s600x0.jpg","section","summary","The award-winning actress and ceramicist reflects on her dual practice and the artists from the upcoming Hong Kong sale who inspire her.","First Person: Karena Lam on Art, Acting and the Women Who Inspire Her","body","

Karena Lam with Issy Wood’s A Junction. Lam says she relates to Wood’s “dual life” as a visual and musical artist.

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On obsession

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Whether it’s ceramics or acting, my passions are all nearly obsessions. I think it’s only through obsession that you can do it well.

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I’ve been obsessed with ceramics for the past two years, and I came across it by chance. My girls were taking ceramics classes, and because of Covid, I started driving them instead of taking the MTR. As soon as I encountered this material, I realized how modest clay was and what little you have to do to reveal its true character.

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On embracing mistakes

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In the practice of ceramics and pottery, there are so many happy accidents, and if you don’t take the time to observe these happy accidents, you would just look right past them.

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One time, I was coiling a really large vase for an exhibition in Taiwan, and I wanted to put my arm into the vase to thin it a bit. Because I wasn’t tall enough, my sleeves touched the upper part and deformed it a bit, but I left it. I just thought it became more organic and its shape was much more authentic than having just a straight vase. I left it the way it was, put it in the kiln, fired it and sent it to Taiwan.

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Sometimes, you really just have to embrace these mishaps.

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Lam with Anna Weyant’s Chest. “In pictures, I always look at the hands because gestures always tell you about the subtext.”

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On truth

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As an actress, we’re always dealing with other people’s truth. When you’re in character, you’re really dealing with that character’s truth, but in the practice of ceramics, I’m dealing with my very own truth. When you’re making your work, it’s very honest because your hands don’t lie to you.

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In pictures, I always look at the hands because gestures always tell you about the subtext, the story, the person’s character. With Anna Weyant’s Chest, I was attracted to the porcelain skin but also the figure’s hands. Who is she, who’s looking at her and who is she looking at? Is she seeing that person for the first time unclothed? Is she shy? Why is she covering her nipples? I always think about their perspective.

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Lam with Anna Weyant’s Untitled.

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On dual lives

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A lot of people feel like l focus more on ceramics than acting, but the two are actually similar in many ways.

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With ceramics, you use your hands, and it really opens your five senses. You don’t think, you just follow your hands — it doesn’t stop, and you go into this trance.

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Through the practice of ceramics, my five senses became much more sensitive in acting. Like if it’s raining and I’m in a particularly sad scene, I just suck in all that weather — the rain, the humidity, the sadness — and I’m using all five of my senses to create that atmosphere. I think without the ceramic practice, it would have been harder to get into that mood.

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Issy Wood, A Junction, 2020
\nEstimate: HK$900,000 - 1,200,000 (US$115,000 - 154,000)
\nLot 270, 20th Century & Contemporary Art & Design Day Sale, June 21

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Issy Wood speaks to me in that way. I know her not through her artwork but through her music — I was drawn to her music before I actually knew she was a painter. I feel her living a dual life is like me living a dual life as a potter and actress.

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On inspiration

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I love Lucie Rie. She’s Viennese and Jewish, and fled to London during World War II. After the war, everybody was really into the Rococo style or the very heavy, practical, functional Bernard Leach style. But Lucie Rie, she did these really delicate forms that looked very plain. Bernard Leach actually commented on Lucy Rie and said it was not very good pottery. But she was very quiet, very petite, and she just kept at the work, and in the end, Leach recognized her work.

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I draw inspiration from that kind of inner strength — she was still pulling pots when she was in her 90s.

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Like Rie, Shio Kusaka is known for her delicate and functional ceramic works, which combine Japanese influences from the Yayoi period with Western sensibilities. “If the Minimalist painter Agnes Martin had been a potter, she might have made vessels like these,” Roberta Smith wrote in a 2011 New York Times review. Pictured above is Kusaka’s (animal 3).

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On broken beauty

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One Sunday I brought my girls to my studio, and I asked them to help me unload the kiln. There was some glaze stuck on the top shelf because it had melted in the heat, and it broke, it chipped off. I remember saying, “Oh no, it’s ugly,” but my youngest — she’s 7 — she said, “No Mommy, it’s broken beautiful.” I was like, “Wow, you’re 7 years old and you’re teaching me about beauty.” I’ve learned from my daughters that beauty is in acceptance.

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Lam with Chiharu Shiota’s Skin series, executed in 2016. Clockwise from top left: Lot 205, Lot 207, Lot 209, Lot 206 and Lot 208.

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As an actress, I feel like there’s always a common ground with all my characters, in their beauty, in how they embrace vulnerability. There’s strength in it, a quiet strength. I see it in Chiharu Shiota’s work. Seeing her works — pictures just don’t justify her works. It’s always a lifetime theme between intimacy, sexuality and possession. The complexity of her thread weaving could represent life, people and how we’re all intertwined.

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On reclaiming the female body

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I think it’s important to be able to reclaim, through art, the choice of the way you want to live, how to present yourself, how to be identified and how to experience life to the fullest. You have to be bold about it. There’s no fear in it, no room for doubts, no judgment. You have to really embrace the woman’s body. You have to be honest, you have to be truthful.

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Julie Curtiss, Funky Boots, 2017
\nEstimate: HK$600,000 - 800,000 (US$76,900 - 103,000)
\nLot 1, 20th Century & Contemporary Art Evening Sale, June 22

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I find Julie Curtiss’ work bold and daring. I like how the shoe in Funky Boots is unzipped because you could choose to not reveal what’s inside but here, you see the blood, the flesh, the veins. It could be inviting you into the female body. It has no fear of showing you what’s inside.

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Shara Hughes, Over the Overcast, 2020
\nEstimate: HK$1,800,000 - 2,800,000 (US$231,000 - 359,000)
\nLot 111, 20th Century & Contemporary Art & Design Day Sale, June 21

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On ambiguity

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There’s something very tender, very sensitive about ambiguity. I like Shara Hughes’ piece because she’s put everything within a frame. They could even be curtains. She’s only showing you what she wants you to see, but these three objects…are they people, are they trees?

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On her most recent project

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I just finished my first public installation, “Take Care You,” at Oil Street in North Point. Basically it started with a dream where I was smashing these bowls. So I pulled 2,700 bowls and shot this 5-minute video of smashing bowls. I formed a small hill out of the broken pieces, placed it in front of a projector and made 20 ceramic stools for people to sit and watch the projection.

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View this post on Instagram
A post shared by Karena Lam 林嘉欣 (@karenalamkayan)

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It’s a work about resilience and hope. The reason why I had this dream about smashing bowls is because I just feel in the past two, three years, Hong Kong has been undergoing a lot of uncertainties with the pandemic and social unrest. At the end of the exhibition, I will take these broken pieces back to my studio, recycle the clay and pull new bowls that people can adopt. So even though these bowls have been broken — even though there’s a lot of anger, a lot of fear, a lot of unknowns — in the very end there’s hope.

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Recommended Reading

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ULTRA/NEO: Spanish New Wave >

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Their Asia Debut: 5 Artists to Watch in the Hong Kong Sales >

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林嘉欣與伊西．伍德（Issy Wood）的作品《一個路口》，她表示對於伍德作為視覺藝術家和音樂人的「雙重身分」有所共鳴。

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關於迷戀

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不論陶藝還是演戲，我對我的興趣幾乎達到迷戀的程度；只有迷戀才會讓人全力以赴，做到最好。

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這兩年來，我迷上陶瓷，其實也是機緣巧合。我的女兒是陶藝學生，由於疫情關係，我開始開車接載她們上課，而不再搭乘地鐵。當我接觸這種媒材時，我發現黏土原來如此樸素，簡單幾步即可揭示它的真實特性。

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抱擁缺憾

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陶藝創作充滿意外驚喜，如果不花時間觀察這些意外，就可能錯過箇中樂趣了。

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有一次，我為台灣展覽盤起一個大型花瓶。我想花瓶變薄一點，於是伸手進入瓶內整理。由於個子不高，我的手臂在瓶內之時，袖子碰到花瓶上方，令瓶子有點變形，但我決定保留當時的狀態。我只覺得這樣令它變得更加自然，其形態比一個直身花瓶更為真實。於是，我將這個原封不動的瓶子送到窯中燒製，然後再將它寄往台灣。

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有時，我們就得接受這些缺憾美。

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林嘉欣與安娜．維揚特的作品《胸膛》。Karena表示：「觀賞圖像時，我總是注視手部，因為手勢讓人知道當中的潛台詞。」

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關於真相

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作為演員，我們總在面對別人的真相。入戲期間，演員需要演繹自己角色的真相。然而，在陶瓷創作中，我在面對自己的真相。整個製作過程赤誠相待，因為自己的手從不掩飾瞞騙。

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觀賞圖像時，我總是注視手部，因為手勢讓人知道當中的潛台詞、故事、人物性格。以安娜．維揚特（Anna Weyant）的作品《胸膛》為例，我被畫中瓷質般的肌膚和人像手部吸引了。她是誰？誰在看她？她在看誰？是藝術家首次看到畫中人的裸體嗎？她害羞嗎？她為甚麼要蓋著乳頭？我總好奇箇中觀點。

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林嘉欣與安娜．維揚特的《無題》。

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雙重身分

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坊間覺得我注重陶瓷多於演戲，但兩者其實有著不少相近之處。

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手製陶瓷可以令人五感全開，不用多想，只須跟隨手的節奏；手不休止，讓製作者進入沉思狀態。

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創作陶瓷令我的五種感官在表演中變得更加敏感，例如天要下雨，如果自己恰好處於悲傷場景，我就可以盡情沉浸在這種天氣的元素之中：細雨、潮濕、哀愁等，我能用五感營造如此氛圍。我認為，如果沒有陶瓷練習，也許我很難體會上述心情了。

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伊西．伍德(Issy Wood)，《一個路口》，2020年作
\n估價：900,000 - 1,200,000港元
\n拍品270，二十世紀及當代藝術和設計日間拍賣，6月21日

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這正是我與伊西．伍德的之間的共鳴。初次認識伍德並非因為她的藝術品，而是她的音樂。知道她是藝術家之前，我就被她的音樂所吸引了。我覺得她的雙重人生，就像自己作為陶藝家和演員的雙重身分一樣，尤其感同身受。

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關於靈感

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我喜愛露西．理惠（Lucie Rie）的作品。她是猶太裔，長於維也納，二戰期間流亡到倫敦。戰後，洛可可風格和厚重實用的伯納．李奇（Bernard Leach）功能性風格大受歡迎；理惠卻製作看似樸素的精緻作品，李奇曾經批評其作並非上佳陶瓷。不過理惠安守本份，埋首工作，終獲李奇垂青。

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理惠在九十多歲時還在拉坯，而我正是從如此不屈不撓中汲取靈感。

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與理惠一樣，日下翅央以精緻實用的陶瓷作品聞名，而這些作品結合了彌生時代的日本影響與西方情感。羅伯塔．史密斯（Roberta Smith）曾於2011年在《紐約時報》點評日下的作品：「如果極簡主義畫家艾格尼絲．馬丁（Agnes Martin）是一位陶藝家，她可能就會製作出這樣的器皿。」上圖是日下的作品《（動物 3）》。

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美是一種接納

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某個星期天，我帶女兒到陶藝室，請她們幫我卸窯。上方擱架黏有釉料，因為它在高溫下融化，也破碎了。還記得我說：「這真醜。」當時只是七歲的孻女回答：「媽媽，沒有啊，它還很漂亮。」我在想：「哇你只是七歲，已經道出有關美的道理。」我從童言中學到，美也是一種接納。

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林嘉欣與鹽田千春的2016年作品系列《肌膚》。左上方順時針排序：拍品205、207、209、206、208。

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我認為自己演過的角色均有共通點，在於她們如何接受脆弱，在於如此人性光輝。它有著一種力量，安靜的力量，而我在鹽田千春的作品中看到這點。圖像不能正當呈現她的作品。親密、性和佔有之間的主題可以窮一生發掘，而其織網的複雜性反映生活、人類，以及我們之間的縱橫交錯。

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重奪女性身體自主權

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我認為，通過藝術重新選擇想要的生活方式、如何展示自己、如何被人識別，以及充分體驗生活的形式等至關重要。我們必須義無反顧地擁護自己，當中沒有恐懼、沒有懷疑的餘地、沒有批判的空間。我們必須真正接納女性身體，對此忠貞不渝。

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朱莉．柯蒂斯（Julie Curtiss），《時髦的靴子》，2017年作
\n估價：600,000 - 800,000 港元
\n拍品1，二十世紀及當代藝術晚間拍賣，6月22日

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我覺得朱莉．柯蒂斯的作品大膽有趣。在《時髦的靴子》中，我喜歡鞋鍊拉開的構圖。藝術家可以選擇不透露內部，但畫中盡現血肉和靜脈，邀請觀者進入女性身體，毫不畏懼地展示箇中玄機。

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莎拉．休斯（Shara Hughes），《漫漫烏雲之上》，2020年作
\n估價：1,800,000 - 2,800,000港元
\n拍品111，二十世紀及當代藝術和設計日間拍賣，6月21日

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模棱兩可之藝術

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模棱兩可的狀態總帶著幾分婉柔和敏感。我喜歡莎拉．休斯的作品，因為她把所有東西置於框內，而此框甚至可以是窗簾。她只向觀者展示她想你看到的事物，但這三個物體……到底是人還是樹？

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關於近作

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我剛在北角油街完成了首個公共裝置作品《Take Care You好好聊療》，一切緣於打碎飯碗的夢境。於是我拉了2,700個生坯飯碗，拍了一段五分鐘的砸碗影片。我用這些碎片砌成一個小山丘，把它放在投影儀前；同時也手捏了二十張陶瓷凳，供作觀看投影的雅座。

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View this post on Instagram
A post shared by Karena Lam 林嘉欣 (@karenalamkayan)

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這是一件關於堅毅和希望的作品。夢見砸碗，或是因為我覺得香港在過去數年間，歷經疫情和社會動蕩等多種不安定。展覽過後，我會把所有碎片帶回陶藝室，加水重用，拉坯成新的器皿，透過「認養陶碗」供受眾捧去隨意運用。即使碗破了，當中積累了多少憤怒、恐懼、未知，曙光依然在望，定能重生蛻變。

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相關專題

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粉墨登場：五位首次亮相亞洲拍場的藝術家>

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獨樂與眾樂 : 一人之境到集體意識>

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超當代：西班牙藝術新浪潮>

\n","2022-06-19T08:15:13.000000Z","Veronica Chow","https://www.phillips.com/article/98374329/karena-lam-art-acting-hong-kong-women-cn",8082,3921,98374329,{"_1757":1792,"_1759":231,"_1760":1793,"_512":1794,"_1763":1795,"_1765":1796,"_1767":1797,"_1769":1770,"_1771":474,"_1772":1798,"_467":385,"_1774":1799,"_1776":1800,"_1778":1801},"https://flockler.com/thumbs/sites/889/kit_9185-f56f0d2f-c91b-48da-8b05-e079a49c4d9f_s600x0.jpg","Join us for a virtual walkthrough of our 20th Century & Contemporary Art & Design auction previews at the JW Marriott Hotel in Hong Kong. On view: David Hockney, George Condo, Matthew Wong, Loie Hollowell and more.","VR Walkthrough: 20th Century & Contemporary Art & Design, Hong Kong","

Travel through our 20th Century & Contemporary Art & Design auction previews at the JW Marriott Hotel in Hong Kong, and browse highlights from our upcoming Evening and Day sales.

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Featuring sought-after works by David Hockney, George Condo, Matthew Wong, Yoshitomo Nara, Loie Hollowell, Nicolas Party, Zhang Xiaogang and more.

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Gallery:

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Pantone Room:

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Our 20th Century & Contemporary Art & Design Day Sale and 20th Century & Contemporary Art Evening Sale will take place on 21-22 June at the JW Mariott Hotel in Hong Kong.
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20th Century & Contemporary Art Evening Sale

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Hong Kong 22 June 2022

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20th Century & Contemporary Art & Design Day Sale

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Hong Kong 21 June 2022

\n","2022-06-18T13:01:36.000000Z","Nicole Cheung","https://www.phillips.com/article/98288887/vr-walkthrough-20th-century-and-contemporary-art-and-design-hong-kong-1",8083,3919,98288887,{"_1757":1803,"_1759":231,"_1760":1804,"_512":1805,"_1763":1806,"_1765":1807,"_1767":1797,"_1769":1770,"_1771":474,"_1772":1808,"_467":98,"_1774":1809,"_1776":1810,"_1778":1811},"https://flockler.com/thumbs/sites/889/kit_9185-43286c49-9cc4-46c6-8078-ff82b1d21b84_s600x0.jpg","與我們一起參與香港虛擬實景展覽，欣賞的「二十世紀及當代藝術」拍賣精選，包括大衛·霍克尼、喬治·康多、王俊傑、奈良美智等的作品。","VR虛擬實景展覽：二十世紀及當代藝術｜香港","

瀏覽富藝斯於香港JW萬豪酒店舉辦的「二十世紀及當代藝術」巡展，觀賞即將亮相春季晚間拍賣和日間拍賣的焦點拍品。

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當中包括大衛·霍克尼、喬治·康多、王俊傑、奈良美智、洛伊·霍洛韋爾、尼古拉斯·帕爾蒂、張曉剛等藝術家的作品。

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展覽:

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Pantone Room:

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今季二十世紀及當代藝術晚間拍賣和二十世紀及當代藝術和設計日間拍賣將於2022年6月21至22日在香港JW萬豪酒店舉行。

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二十世紀及當代藝術晚間拍賣

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香港拍賣 2022年6月22日

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二十世紀及當代藝術和設計日間拍賣

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香港拍賣 2022年6月21日

\n","2022-06-18T14:01:22.000000Z","https://www.phillips.com/article/98341733/vr-walkthrough-20th-century-and-contemporary-art-and-design-hong-kong-1-cn",8084,3920,98341733,{"_1757":1813,"_1759":231,"_1760":1814,"_512":1815,"_1763":1816,"_1765":1817,"_1767":1797,"_1769":1770,"_1771":474,"_1772":1818,"_467":188,"_1774":1819,"_1776":1820,"_1778":1821},"https://flockler.com/thumbs/sites/889/172048-_uc551957-113af10f-a156-4a11-9373-c896fc4babe9_s600x0.jpg","Masterpieces by Maestros Artistas featured in Phillips' 20th Century & Contemporary Art Hong Kong 2022 sales you should have on your lookout this June.","Maestros Artistas | Hong Kong | June 2022","

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Seeing is more than looking.
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Come join Phillips’ upcoming 20th Century and Contemporary Art Hong Kong auction on 21-22 June 2022. This sale features masterpieces by David Hockney, George Condo, Matthew Wong and many more.

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George Condo, Transparent Female Forms , 2009
\nEstimate: HK$25,000,000 - 35,000,000 (US$3,210,000-4,490,000)
\nLot 9, 20th Century & Contemporary Art & Design Evening Sale, June 22

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In Transparent Female Forms, a kaleidoscope of neon-pastel hues drizzled across a neutral ground, are superimposed with gestural improvisations that lend the work to a sense of rhythm invoking Condo’s preoccupation with music, which he studied alongside art history in university. Sensuous female figures that traverse the composition appear in and out of the picture plane: their faces adorned with elegant pearls, full lips and luscious hair are rendered with astonishing fluidity. Yet in signature Condo fashion, grotesque characters with snarled grimaces, wild-eyes, and disfigured heads loom in the background. With these juxtapositions, Condo expertly bridges the cacophonous with the sensual and the recognisable with the alien, probing at our most primitive human instincts of desire, disgust and intrigue.

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David Hockney, Painted Landscape (Or Red and Blue Landscape), 1965
\nEstimate: HK$16,000,000 - 24,000,000 (US$2,050,000-3,080,000)
\nLot 12, 20th Century & Contemporary Art & Design Evening Sale, June 22

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A lyrical fusion of geometric Cubism, Surrealist abstraction and still life, Painted Landscape (Or Red and Blue Landscape) showcases British artist David Hockney’s unparalleled ability in creating an utterly intriguing composition. Containing a dazzling variety of brushstrokes – from long blended marks to short, staccato touches – Hockney represented each area of the image, from the curtains and flooring to the figure and the seascape, with a distinctly different handling of the brush, creating an overall surface effect of pulsating cross-rhythms.

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Matthew Wong, Pink Wave, 2017
\nEstimate: HK$16,000,000 - 26,000,000 (US2,050,000-3,330,000)
\nLot 11, 20th Century & Contemporary Art & Design Evening Sale, June 22

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Phillips is proud to present a monumental work by the revered Canadian-Hong Kong painter, Matthew Wong. More Nabi than Impressionist, Wong shared in the mystical dispositions of the hermetic Post-Impressionist group, and his virtuosic symphonies of pigment and rejection of tonal modelling.

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This is brilliantly exhibited in Pink Wave where teal and navy horizontals are broken up by the sweeping burgundy coastline and the speckled beach, while the golden tributary is crowned by a floral explosion of fuchsia. The dream dialectic that charges through the painting creates modal ambiguity. We question ourselves — what exactly are we looking at here, flower or wave?

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Recommended Reading

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ULTRA/NEO: Spanish New Wave >

\n","2022-06-15T14:15:13.000000Z","https://www.phillips.com/article/98197520/maestros-artistas-hong-kong-june-2022",8079,3913,98197520,{"_1757":1823,"_1759":231,"_1760":1824,"_512":1825,"_1763":1826,"_1765":1827,"_1767":1786,"_1769":1770,"_1771":474,"_1772":1828,"_467":72,"_1774":1829,"_1776":1830,"_1778":1831},"https://flockler.com/thumbs/sites/889/172048-_uc551957-f8bb9a02-1a7c-477e-9c64-20f7b9d073bc_s600x0.jpg","富藝斯將在2022年六月於香港舉辦二十世紀及當代藝術拍賣，蒐羅藝術大師的經典著作，勢必引起藏家關注。\n\n","藝術大師 | 香港 | 2022年6月","

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"Seeing is more than looking." - 大師作品都是賞心悅目的。
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富藝斯誠邀閣下參與2022年6月21至22日舉辦的二十世紀及當代藝術和設計日間拍賣和二十世紀及當代藝術晚間拍賣，我們現透過此視頻介紹晚間拍賣中出自大衛．霍克尼（David Hockney）、喬治．康多（George Condo）、王俊傑等藝術家的頂級傑作。

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喬治．康多（George Condo），《透明女性形態》，2009年作
\n估價：25,000,000 - 35,000,000 港元
\n拍品9，二十世紀及當代藝術晚間拍賣，6月22日

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在《透明女性形態》中，萬花筒般柔和的霓虹色調灑在大地色的背景上，疊加在麻布上的行動繪畫的即興創作賦予了作品一種節奏感，令人聯想到康多對於在大學時與藝術史同時修讀的音樂的專注。此作中性感的女性形像在畫面中若隱若現：她們的臉頰以雅緻的珍珠為裝飾，豐滿的嘴唇和豐盈的以歎為觀止的流暢性描繪出來。然而，在康多經典的表現方式影響下，帶著奇異的面相、狂野的眼神和破碎的頭像的怪誕角色們，隱約地充斥在背景中。通過這些元素的並置，康多巧妙地將嘈雜的與感性的、可識別的與陌生的聯繫起來，探索慾望、厭惡和好奇等人類最原始的本能。

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大衛．霍克尼（David Hockney），《風景畫（或紅色與藍色風景）》，1965年作
\n估價：16,000,000 - 24,000,000港元
\n拍品12，二十世紀及當代藝術晚間拍賣，6月22日

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《風景畫（或紅色與藍色風景）》優美地融合了幾何立體主義、超現實主義式抽象與靜物畫，展示了英國藝術家大衛．霍克尼將奇思妙想付諸畫面的非凡能力。作品展現了各種令人歎為觀止的筆觸—從窗簾、地板，到人物、海景—霍克尼作品中的每個區域都由截然不同的筆觸繪製而成：修長的色塊與短促的點彩相並置，整體畫面有如活潑的多節奏舞曲。

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王俊傑，《粉紅海浪》，2017年作
\n估價：16,000,000 - 26,000,000港元
\n拍品11，二十世紀及當代藝術晚間拍賣，6月22日

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富藝斯榮幸呈現備受崇敬加拿大港裔畫家王俊傑的曠世作品。比起印象派更偏向那比派，他在作品中分享了封閉的後印象派團體的神秘性格，其精湛的色彩協調和為了色調能更自由的運用而拒絕建模。

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《粉紅海浪》展現上述出色手法，廣闊的勃艮第色海岸線和斑駁的海灘打破水平的藍綠色和海軍藍色，而金色的支流則彷彿被大量紫紅色花朵加冕。以夢辯證模態的模糊性。我們質疑—我們到底在看什麼，花還是海浪？

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相關專題

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粉墨登場：五位首次亮相亞洲拍場的藝術家 >
\n獨樂與眾樂 : 一人之境到集體意識 >
\n超當代：西班牙藝術新浪潮>

\n","2022-06-17T04:26:07.000000Z","https://www.phillips.com/article/98277830/maestros-artistas-hong-kong-june-2022-cn",8080,3916,98277830,{"_1757":1833,"_1759":231,"_1760":1834,"_512":1835,"_1763":1836,"_1765":1837,"_1767":1786,"_1769":1770,"_1771":474,"_1772":1838,"_467":773,"_1774":1839,"_1776":1840,"_1778":1841},"https://flockler.com/thumbs/sites/889/banner-c8f4dfb3-b88c-4d18-80d7-3d766a651838_s600x0.jpg","由個人、家庭組織到社群，從晚間拍賣的4件作品看藝術家各自的情感世界，探索藝術家的一人之境和集體意識。","獨樂與眾樂 : 一人之境到集體意識","

（左）：奈良美智《無題》，1991年作。(右)：張曉剛《血緣系列—大家庭》，2006年作。

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奈良美智筆下孤身隻影的小女孩和比利時藝術家博伊曼斯的神秘男子，彌漫著疏離孤獨的氛圍；另一邊廂中國當代大師張曉剛的《血緣》系列和喬治·康多的作品以不同方式和視覺語言來演繹「全家福」概念。

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奈良美智 《無題》，1991年作。
\n估價6,000,000 - 8,000,000港元
\n拍品20, 二十世紀及當代藝術晚間拍賣

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奈良美智的一人世界

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奈良美智是當今最具國際影響力的藝術家之一，他的作品強調私人感情的流露，近乎赤裸地傳達一種敏感、脆弱的私人情緒。奈良自幼在日本北部的農業小鎮青森長大，從小以樹木和動物為伴，1988年，他於愛知縣立藝術學院畢業後前往德國杜塞爾多夫求學，他回憶在陌生城市生活的感覺，再次讓他想起了孤獨的童年。

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晚間拍賣呈獻的《無題》是奈良1991年的作品，畫面充滿著孩童般的想像力，但細看卻有一股安靜和沈思的氛圍，正代表著奈良在德國生活的創作階段。《無題》以平淡的色彩、粗礦的黑色輪廓和有別於傳統作畫的平面視角為特色，將孤獨和懷舊的情感具現化。一個女孩於一片虛空之中孤零零地站在水窪裡，間接地反映了奈良當初在他鄉所感受到的疏離情緒，並與世界各地的游子產生共鳴。

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博伊曼斯的神秘宇宙

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米凱爾·博伊曼斯(Michael Borremans)《星星》，2008年作。
\n估價2,000,000 - 3,000,000港元
\n拍品23, 二十世紀及當代藝術晚間拍賣

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與奈良美智的風格截然不同，出生於比利時的米凱爾·博伊曼斯(Michael Borremans)，其肖像畫以彷彿心懷鬼胎的主角以及陰鬱的畫面而聞名。藝術家的作品在描繪黑暗離奇的故事，充滿模糊的象徵意義。於2008年創作的《星星》，主角是一個背對觀眾的神秘年輕人，矗立於一個黑暗又奇異彷彿深不見底的虛空中。即使觀眾無法看見主角的表情，畫面的聚焦得以讓人感受到主角憂鬱的心理狀態。

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博伊曼斯擁有製作草圖、版畫和攝影背景，《星星》對攝影的引用很明顯，並充滿了戲劇元素和懸疑氣氛。我們只要仔細一看，便會發現作品主角只有上半身，作品的不完整敘述彷彿象徵著畫面狀態與我們生活現實的十分相似，而我們在畫中得以驚鴻一瞥。懸疑的氣氛令人不安同時又令人著迷，在氛圍的包裹下觀眾彷彿重新設置了欣賞這幅畫的角度。
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張曉剛的血緣大家庭

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張曉剛 《血緣系列—大家庭》，2006年作。
\n估價7,500,000 - 10,000,000港元
\n拍品25, 二十世紀及當代藝術晚間拍賣

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對比起奈良美智的孤獨和博伊曼斯的黑暗懸疑，張曉剛的《血緣》系列將傳承、集體歷史融入創作，把沒有血緣關係的人之間建立連結。

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張曉剛在發掘自己家庭的老照片後開始創作《血緣》系列，其靈感來自於個人歷史及其所蘊含的相關情感。藝術家在沒有血緣關係的人之間建立連結：「我想把這些人都串在一起；他們可能是親人，也可能是朋友，也可能互相都沒有關係。我想這樣把它像個網絡一樣串在一起，形成一個家庭的感覺。」

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在《血緣系列—大家庭》等作品中，張曉剛將個人傳承、集體歷史和文化遺產融為一體，在作品中折射逝去時代的社會底蘊並呈現出一幅時代的縮影，由此喚起了觀眾的情感與心理共鳴。《血緣》系列的創作始於1993年，標誌著張曉剛摒棄表現主義、脱離超現實主義和個人存在主義思考，進而轉向關於國家和集體歷史的研究。

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喬治康多的另類全家福

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喬治·康多 (George Condo) 《陌生人》，2009年作。
\n估價5,000,000 - 6,500,000港元
\n拍品17, 二十世紀及當代藝術晚間拍賣

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喬治·康多這幅在2009年創作的作品雖然名為《陌生人》，作品卻正在描繪藝術家、他的妻子和他們的兩個女兒。《陌生人》體現了康多怪誕而異想天開的風格，並於 2010 年在柏林 Sprüth Magers 畫廊舉辦的個展「全家福」中展出。

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對應展覽標題，《陌生人》畫中的家庭成員，經過扭曲已面目全非，幾乎無法辨認他們的形象，這顯然是一幅非主流的全家福，藝術家利用怪誕、超現實的手法對該現實主義類型進行了重新想像。在《陌生人》中可以看到康多精湛地汲取了前輩藝術大師的創作精華，成功地挪用和改造了歷史上的繪畫風格並將其轉化為他專屬的繪畫語言。

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相關專題

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超當代：西班牙藝術新浪潮 >
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\n二十世紀及當代藝術晚間拍賣
\n香港 / 6月22日

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二十世紀及當代藝術和設計日間拍賣
\n香港 / 6月21日

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\n","2022-06-14T09:30:38.000000Z","https://www.phillips.com/article/98125126/solitude-world-bonding-tcaspring22-cn",8078,3909,98125126,{"_1757":1843,"_1759":231,"_1760":1844,"_512":1845,"_1763":1846,"_1765":1847,"_1767":1768,"_1769":1770,"_1771":474,"_1772":1848,"_467":802,"_1774":1849,"_1776":1850,"_1778":1851},"https://flockler.com/thumbs/sites/889/lucy-bull-850-598714dd-b17b-4879-9d57-7d1adb6ba6af_s600x0.jpg","As Asian collectors continue to drive global tastes and trends, Phillips is proud to introduce Lucy Bull, Ouattara Watts, Anna Park, Trey Abdella and Jason Boyd Kinsella to the market for the first time.","Their Asia Debut: 5 Artists to Watch in the Hong Kong Sales","

Lucy Bull, 8:50, 2020
\nEstimate: HK$1,000,000 - 1,500,000 (US$130,000 - 190,000)
\nLot 3, 20th Century & Contemporary Art Evening Sale, June 22

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Asia has become a powerhouse in the art market. 2020 saw China surpass the United States as the world’s largest art auction market, according to Artnet. The region continues to add prestigious events to the art fair calendar, with Frieze set to launch its first non-Western edition in Seoul this September. Last year, Phillips realized a record HK$1.3 billion (US$166.6 million) from the 20th Century & Contemporary Art & Design sales in Hong Kong, rounding out the company’s most successful year.

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The eclectic tastes of young Asian collectors — many of them educated abroad — are influencing not just what sells in Asia but also the rest of the world. While established figures such as KAWS, Gerhard Richter and Jean-Michel Basquiat have been some of the region’s top sellers, Asian buyers have also driven demand for emerging names from outside the region.

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Among 13 artists who made their Asia debut at Phillips in the past two years, five shattered records in their first sale.
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They include Jadé Fadojutimi, whose Concealment: An essential generated by the lack of shade sold for HK$5,670,000 at Phillips’ 20th Century & Contemporary Art Evening Sale in June, a record at the time.

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Scott Kahn’s standing auction record — HK$7,510,000 for Cadman Plaza at Phillips’ 20th Century & Contemporary Art Evening Sale in November — predates his sold-out solo shows in Paris and New York. Other artists who notched auction records upon their Asia debut at Phillips Hong Kong include Billie Zangewa, Salman Toor and Claire Tabouret.

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**Scott Kahn, Cadman Plaza, 2002**
\nSold for HK$7,510,000 (US$963,000) at Phillips’ 20th Century & Contemporary Art Evening Sale, November 2021, Hong Kong

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As Asian collectors continue to shape global tastes and trends, Phillips is at the forefront of identifying and introducing new talent to the market. This season, five artists — Lucy Bull, Ouattara Watts, Anna Park, Trey Abdella and Jason Boyd Kinsella — will be making their Asia auction debut at Phillips’ 20th Century & Contemporary Art & Design sales in Hong Kong.

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Their work spans mediums from oil on canvas to charcoal on paper, but they are united by their sense of the now and the conflicts in our chaotic and divided world. As their work comes to auction for the first time in Asia, these artists will be the ones to watch in our Hong Kong sales this month.

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Lucy Bull

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After a breakout show at David Kordansky Gallery in Los Angeles last year, Lucy Bull has become a darling of both collectors and critics alike. Hailed as the new champion of Western abstraction, Bull splashes canvases with psychedelic scenes that tread the line between acid trip and surrealist climax.

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8:50 (pictured in header) is the artist’s first work to come to auction in Asia and only the second ever to hit the market. A kaleidoscope of colors and patterns, the piece stands as one of the artist’s largest visions, defined by contrasts between precision and abandon, order and chaos, concord and discord.

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“I want to titillate the senses. I want to draw people closer.”
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In a world dominated by TikTok reels and endless streams of targeted ads, Bull’s practice calls for mediation through submission. “I want to titillate the senses,” she says. “I want to draw people closer. I think people aren’t used to paying much-prolonged attention to paintings on walls and I want to allow people to have more of a sensory experience.”

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Bull is currently in a group show, Women of Now, at the Plus Gallery in Denver alongside other female artists such as Anna Weyant, Dominique Fung and Issy Wood.

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**Ouattara Watts, Intercessor, 2003**
\nEstimate: HK$800,000 - 1,200,000 (US$103,000 - 154,000)
\nLot 30, 20th Century & Contemporary Art Evening Sale, June 22

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Ouattara Watts

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In a world of compromise, Ouattara Watts has not. Boasting a prolific career spanning five decades, his practice is distinguished by monumental canvases, watercolors, gouaches, drawings and collages that connect West African aesthetics with Western modernist sensibilities.

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Born in the Ivorian capital Abidjan, Watts studied at the esteemed Beaux-Arts in Paris — before a chance encounter with Basquiat took him to New York, where he has lived and worked since. The two became close friends, separated by only four years in age and their backgrounds intertwined with Watts from the Ivory Coast and Basquiat born to a Haitian father and Puerto Rican mother in Brooklyn.

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Watts and Basquiat became close friends, separated by only four years in age and their backgrounds intertwined.
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Naturally, Watts draws inspiration from the indigenous art of Africa but also from the pool of postwar abstraction, in particular the work of Rothko, who Watts says “touches upon the omniscient, unfolds life, death, man’s place with regards to the deepest of realities.”

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Intercessor is an accomplished later work by the artist and the first of his to come to auction in Asia. It is a demonstration of his matured practice, as Watts has departed from the more obvious African iconography of his earlier work — tribal masks and ancient Egyptian hieroglyphics — and establishes the vocabulary that would become paramount in his late-stage career: mathematical equations (where Basquiat’s influence begins to emerge), diagrams of atoms, earthly tones balanced with brighter accents and intricate cosmic bursts.

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**Anna Park, I to I, 2019**
\nEstimate: HK$300,000 - 500,000 (US$38,500 - 64,100)
\nLot 35, 20th Century & Contemporary Art Evening Sale, June 22

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Anna Park

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At 23, Anna Park caught the attention of the art world before she even graduated art school. In 2019, KAWS spotted one of her charcoal drawings at an open studio exhibition at the New York Academy of Art, where she was completing an MFA. He bought it, posted it on Instagram and soon, the market took notice.

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Park is known for her chaotic scenes of figures in motion. Through her skillful use of swirling lines and charcoal gradients, she depicts late-night revelers, bar brawlers and even a press scrum in mid-action, as if drawn directly from the freeze frame of a film clip.

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The kinetic energy of her imagined worlds is only matched by the frenetic pace of her meteoric rise.

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In the whirlwind three years since KAWS first shared her work, Park has held acclaimed solo shows in New York, Europe and Asia, and her works are in the permanent collections of four museums. Critics have lauded her ability to capture the zeitgeist, with her scenes of dance-floor decadence reminiscent of Garry Winogrand’s era-defining shot-from-the-hip photographs of the gogo ‘60s.

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I to I, which marks her auction debut, is an example of those scenes, reminiscent of an intrusive, unplanned paparazzi-angled shot that forces its viewer to confront an uncertain setting. Are we looking at two celebrities in varying levels of inebriation firmly steered by their bodyguard, or are we to fret for the unsteady women, scantily clad, being cajoled by a male bystander? Ever so subtle, Park’s work is embedded with a clever cynicism that critiques our contemporary society.

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**Trey Abdella, Some Things Aren't Worth Waiting For, 2019**
\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)
\nLot 36, 20th Century & Contemporary Art Evening Sale, June 22

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Trey Abdella

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“I’m interested in exploring the misery of the American Dream,” Trey Abdella once told Galerie magazine. Indeed, many of the artist’s works are surreal and humorous depictions of mundane moments in American life — a backyard barbecue, a school dance or in this case, a long wait at the DMV.

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Abdella’s sight gags have roots in the cartoons he grew up watching. The facepalm in Some Things Aren’t Worth Waiting For seems lifted straight out of a Tom and Jerry episode, the fingers digging so deeply into the eyes that they just gouge them out in frustration.

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“I’m interested in exploring the misery of the American Dream.”
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Unabashedly irreverent, Abdella also skewers traditional figuration with his use of mixed media, plastering fabric, glitter, rhinestones and chains wherever the artist just doesn’t seem to feel like reproducing the object.

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Still, the current work exhibits Abdella’s skillful application of painterly techniques. The figure’s coarse face is illustrated with fluffy patches of thick paint, while the Rolex Submariner watch is rendered in a hyper-realistic manner and set against a highly textured sleeve that recalls the feel of actual cloth.

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Some Things Aren’t Worth Waiting For marks the artist’s auction debut in Asia just as his first solo exhibition in China, Almost Heaven, is running at the X Museum in Beijing.

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**Jason Boyd Kinsella, Summers (the elder), 2021**
\nEstimate: HK$150,000 - 250,000 (US$19,200 - 32,100)
\nLot 263, 20th Century & Contemporary Art & Design Day Sale, June 21

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Jason Boyd Kinsella

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After a 30-year hiatus, Toronto-born Jason Boyd Kinsella began painting again in 2019. Since then, he has been part of several group shows, including Galerie Perrotin’s exhibition at Art Basel Miami Beach, and held solo shows in London and Paris.

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His latest series, which was exhibited this year at Perrotin Matignon 8, uses geometric shapes as building blocks for portraits of abstract figures. The size, shape and color of the blocks are determined by the Myers-Briggs personality test, suggesting that human personalities, while different in their construction, are built from the same basic components.

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“Each colorful building block is open to new combinations of elements — like some visual alchemy.”
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“My visual language telegraphs this impermanence,” Kinsella says, “by illustrating our existence as a delicate assemblage of shapes unbound by flesh. Each colorful building block is open to new combinations of elements — like some visual alchemy.”

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Kinsella draws from several artistic traditions. While Cubism is the most apparent, the figures’ poses and muted backgrounds recall the austerity of Old World portraits.

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Summers (the elder) is the second work by the artist — and his first in Asia — to come to auction, just one month after Thaws sailed past estimates and sold for US$441,000 at Phillips’ 20th Century & Contemporary Art Day Sale in New York.

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Recommended Reading

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ULTRA/NEO: Spanish New Wave >

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\n","2022-06-14T04:49:05.000000Z","https://www.phillips.com/article/98113373/asia-debut-artists-to-watch-hong-kong-auction",8075,3907,98113373,{"_1757":1853,"_1759":231,"_1760":1854,"_512":1855,"_1763":1856,"_1765":1857,"_1767":1786,"_1769":1770,"_1771":474,"_1772":1858,"_467":834,"_1774":1859,"_1776":1860,"_1778":1861},"https://flockler.com/thumbs/sites/889/171732-2_uc552227-14fdd9e6-4601-4fc9-ad8a-126fee1c1522_s600x0.jpg","隨著亞洲藏家持續提昇品位和促進全球收藏趨勢，富藝斯再次將一系列藝術家首次引入亞洲拍賣市場。","粉墨登場：五位首次亮相亞洲拍場的藝術家","

露西．布爾（Lucy Bull），《8:50》，2020年作
\n估價：1,000,000 - 1,500,000 港元
\n拍品3，二十世紀及當代藝術晚間拍賣，6月22日

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亞洲進化成為全球藝術市場的主軸：根據《Artnet》報導，中國在2020年超越美國，成為全球最大藝術品拍賣市場。此外，亞洲地區繼續在藝術博覽日程上增添著名展會，其中弗里茲(Frieze)將於今年九月進軍首爾，推出首個西方地區以外的版本。去年，富藝斯與保利拍賣聯合在香港呈獻的二十世紀及當代藝術和設計拍賣總合13 億港元（1.666 億美元），刷新總成交紀錄，為本行最成功的一年圓滿收棺。

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不少在外國接受教育的亞洲年輕藏家品味不拘一格，不僅影響亞洲銷情，也為世界各地的展品起了重大作用。雖然KAWS、格哈特．里希特（Gerhard Richter）、尚．米榭．巴斯奇亞（Jean-Michel Basquiat）等知名藝術家一直備受亞洲地區推崇，但該區買家也對同地區以外的新晉藝術家需求殷切。

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過去兩年，富藝斯呈現了十三位藝術家的首次亞洲拍賣市場亮相，當中五位創下個人拍賣紀錄。
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賈黛．法多朱蒂米（Jadé Fadojutimi）的作品《隱蔽性：因缺乏陰影所產生的必要條件》以5,670,000港元在去年六月的富藝斯香港二十世紀及當代藝術晚間拍賣成交，刷新藝術家當時個人拍賣紀錄。

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斯科特．卡恩（Scott Kahn）現時個人拍賣紀錄由《卡德曼廣場》在去年十一月的富藝斯香港與保利拍賣聯合舉行的二十世紀及當代藝術晚間拍賣創下，成交額高達7,510,000港元，為其備受矚目的巴黎和紐約個展搶先引起業界人士哄動。其他在富藝斯香港首次作出亞洲拍賣市場亮相並刷新紀錄的藝術家包括：比莉．贊格瓦（Billie Zangewa）、薩爾曼．托爾（Salman Toor）、克萊爾．特伯萊（Claire Tabouret）等。

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斯科特．卡恩（Scott Kahn），《卡德曼廣場》，2002年作
\n成交價：7,510,000港元
\n富藝斯香港二十世紀及當代藝術晚間拍賣，2021年11月

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隨著亞洲藏家不斷塑造全球品味和收藏趨勢，富藝斯繼續領先業界，嚴格發掘不同藝術家，為拍賣市場引入新力軍。本季，五位藝術家將在6月22日舉行的二十世紀及當代藝術晚間拍賣和6月21日舉行的二十世紀及當代藝術和設計日間拍賣系列中首次亮相該區拍場，包括：露西．布爾（Lucy Bull）、瓦塔拉．瓦特斯（Ouattara Watts）、安娜．帕克（Anna Park）、特雷．阿卜杜拉（Trey Abdella）和傑臣．博伊德．金賽拉（Jason Boyd Kinsella）。

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上述作品涵蓋油畫、炭筆、紙本等多種媒材。儘管媒材各適其適，他們對當下分裂亂世的感覺卻如出一辙。由於他們的作品首次在亞洲拍賣亮相，這些藝術家勢必成為本月香港拍賣的焦點。

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露西．布爾

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露西．布爾（Lucy Bull）於去年在洛杉磯的大衛．科爾丹斯基畫廊舉辦了一場精彩的展覽後，便成為收藏家和評論家的寵兒。布爾被譽為西方抽象派的新領航員，其作品體現了迷幻流派和超現實主義高潮之間的完美平衡。

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《8:50》是布爾首現亞洲拍賣市場的作品，也是她有史以來第二次在拍賣會上展示作品。拍品將萬花筒般的顏料和圖案呈現於觀者眼前，亦是藝術家最大的願景之一，精確又放縱、秩序又混亂、和諧又不和。

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「我想激發人們的感官。我想拉近人與畫的距離。」
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在一個充滿著像抖音捲軸、無盡的廣告、令人焦慮的嘈雜聲的感官超負荷的世界裡，布爾的做法讓我們能在自我交托中得到靈修。她表示：「我想激發人們的感官。我想拉近人與畫的距離。我覺得人們不習慣長時間凝視畫作，所以我想在畫中讓人們有更多的感官體驗。」

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這位藝術家目前還與安娜．維揚特（Anna Weyant）、馮道美和伊西．伍德（Issy Wood）等其他女性藝術家在 Plus Gallery 一起參加群展《時代女性》。

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瓦塔拉．瓦特斯（Ouattara Watts），《中間人》，2003年作
\n估價：800,000 - 1,200,000港元
\n拍品30，二十世紀及當代藝術晚間拍賣，6月22日

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瓦塔拉．瓦特斯

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在一個充滿妥協的世界裡，瓦塔拉．瓦特斯（Ouattara Watts）從不妥協。在長達五十年的多產職業生涯中，他創作了極富個人特色的大型畫布作品，以及水彩、水粉、素描和拼貼畫，將西非美學與西方現代主義情感相結合。

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瓦特斯出生於科特迪瓦首都阿比讓，在巴黎著名的國立高等美術學院學習，在與巴斯奇亞一次偶然邂逅後，他前往紐約並從此在那裡生活與工作。兩人很快成為密友，二人年齡僅相隔四歲，背景也有許多共通之處，因為瓦特斯出生在科特迪瓦，而出生在布魯克林的巴斯奇亞的父親是海地人、母親是波多黎各人。

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瓦特斯和巴斯奇亞很快成為密友，二人年齡僅相隔四歲，背景也有許多共通之處。
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瓦特斯當然從非洲本土藝術中汲取了不少靈感，與此同時戰後抽象主義潮流對他亦有很大影響—尤其是羅斯科的作品，瓦特斯說他「觸及全知全能，用最深刻的現實展現了生命、死亡和人類的存在地位」。

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《中間人》是瓦特斯晚期的一幅重要作品，也是其首現亞洲拍賣市場的作品。由此可見他的多樣化實踐業已成熟，他在此摒棄了早期作品中明顯的非洲符號—部落面具、古埃及象形文字—並奠定了在他後期職業生涯中至關重要的視覺語言：數學方程式（我們開始看到巴斯奇亞的影響）、原子圖、大地色系基調與明亮用色及宇宙裂變的繁雜圖樣的互相平衡。

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安娜·帕克（Anna Park），《I 到 I》，2019年作
\n估價：300,000 - 500,000 港元
\n拍品35，二十世紀及當代藝術晚間拍賣，6月22日

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\n安娜．帕克

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儘管年僅二十三歲，安娜·帕克（Anna Park在她畢業之前就引起了藝術界的注意。2019年，當時她正在紐約藝術學院完成藝術碩士學位， KAWS在該學院的公開展覽上發現其炭筆畫。KAWS不僅買下這幅作品，更在Instagram上發佈新藏品，令帕克旋即獲得市場關注。

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帕克以繪畫充滿活動人像的混亂場景而聞名。通過靈巧使用旋轉線條和炭筆的漸變色，她分別描繪過深夜狂歡者、酒吧爭吵者、新聞發佈會期間等情形，猶如把事發影片的定格畫面直接複製。

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帕克想像世界的動能與其迅速冒起的速度可謂步伐一致。

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自KAWS首次分享帕克的作品以來，短短三年之間，她在紐約、歐洲、亞洲等地舉辦了廣獲好評的個展，作品被四家博物館納入永久館藏。藝評人稱讚她捕捉時代精神的能力，而拍品的舞池頹廢場景讓人想起攝影大師加里．溫諾格蘭（Garry Winogrand）六十年代的革命性街拍照片。

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《I 到 I》是帕克首現拍賣市場的作品，也呈現了上述場景，如此地使人想起一種侵入性的、未經計畫的狗仔隊角度快照，迫使其觀者置身於一種不確定的狀態：我們是否正看著兩位名人處在不同程度的醉意中，由她們的保鑣穩固地指引著？或是，我們是否要為畫中搖搖欲墜的、衣衫不整的女子感到憂心，看她們正任由男性旁觀者哄騙著？儘管相當地細微，帕克的作品夾著一種睿智的諷世意味，甚至批判著我們所處的當代社會。

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特雷．阿卜杜拉（Trey Abdella），《有些事情不值得等待》，2019年作
\n估價：600,000 - 900,000港元
\n拍品36，二十世紀及當代藝術晚間拍賣，6月22日

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特雷．阿卜杜拉

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特雷．阿卜杜拉（Trey Abdella）曾經在《Galerie》雜誌訪談中表示：「我有興趣探索美國夢的痛苦。」事實如此，這位藝術家的不少作品均是對美國日常生活的超現實和幽默描繪，包括：後院燒烤、學校舞會，以及拍品中車管所內的漫長等待。

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阿卜杜拉的視覺噱頭源於他從小觀看的卡通。《有些事情不值得等待》中的臉龐似乎直接用上《湯姆和傑利》（Tom and Jerry）的情節作為參考；五指深深挖進眼睛，勢要挖出雙目一樣，盡現挫敗之感。

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「我有興趣探索美國夢的痛苦。」
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阿卜杜拉對他的不敬毫不掩飾，在他不想繪畫的物件上，以綜合媒材、抹灰布料、閃粉、水鑽和鍊等代替該物，扭曲傳統形象。

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目前的作品展示了藝術家對各種筆觸和繪畫技巧的巧妙運用。他利用蓬鬆的厚塗顏料來表現人物粗糙的面容；相反，阿卜杜拉在繪畫勞力士潜航者腕錶時，用超逼真的畫風精心地繪製出極具質感的彩繪袖子，讓人聯想到布料的手感。

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《有些事情不值得等待》是阿卜杜拉首現亞洲拍賣市場的作品。其最新個人作品展《要上天了》目前正在北京 X 美術館舉辦，此標誌着藝術家在中國的首次亮相。

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傑臣·博伊德·金賽拉（Jason Boyd Kinsella），《數個夏天（長者）》，2021年作
\n估價：150,000 - 250,000港元
\n拍品263，二十世紀及當代藝術和設計日間拍賣，6月21日

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傑臣．博伊德．金賽拉

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時隔三十年，生於多倫多的傑臣·博伊德·金賽拉（Jason Boyd Kinsella）在2019年再次執筆繪畫。自此之後，他參加多個群展，其中包括貝浩登畫廊的邁阿密巴塞爾藝術展展位，以及於倫敦和巴黎舉辦個展。

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他的最新系列於今年在位處巴黎馬提尼翁大道八號的貝浩登畫廊展出，使用幾何形狀作為抽象人物肖像畫的基石。塊狀的大小、形狀和顏色由邁爾斯-布里格斯性格分類指標確定，表明人類性格雖然構造不同，但由相同的基本部分構成。

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「每一色彩繽紛的塊狀都可以根據不同元素重新組合—就像一種視覺煉金術一樣。」
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金賽拉表示：「我的視覺語言通過將我們的存在描繪為不受肉體束縛的形狀的微妙組合來傳遞這種無常。每一色彩繽紛的塊狀都可以根據不同元素重新組合—就像一種視覺煉金術一樣。」

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金賽拉借鑒了多種傳統藝術創作，當中雖以立體主義是最為明顯，但人像的姿勢和柔和的背景讓人想起舊式肖像畫的簡樸。

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《數個夏天（長者）》是金賽拉首現亞洲拍賣市場的作品，也是他史產第二次在拍賣會上展示作品。上月，其首現世界拍賣市場的作品《融化》以441,000美元在富藝斯紐約二十世紀及當代藝術日間拍賣上成交，遠超估價。

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相關專題

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超當代：西班牙藝術新浪潮>

\n","2022-06-16T02:09:01.000000Z","https://www.phillips.com/article/98225478/asia-debut-artists-to-watch-hong-kong-auction-cn",8076,3915,98225478,{"_1757":1863,"_1759":231,"_1760":1864,"_512":1865,"_1763":1866,"_1765":1867,"_1767":1768,"_1769":1770,"_1771":474,"_1772":1868,"_467":1869,"_1774":1870,"_1776":1871,"_1778":1872},"https://flockler.com/thumbs/sites/889/165218_a_uc547336-f53c17a0-c2c2-40ab-bd1e-d975d2520bd1_s600x0.jpg","Coming off the success of our inaugural series spotlighting ultra-contemporary international talent, ULTRA/NEO returns this season with a roster of rising Spanish artists.","ULTRA/NEO: Spanish New Wave","

Rafa Macarrón, Sin título (Cosmos), 2015
\nEstimate: HK$700,000 - 1,000,000 (US$89,700 - 128,000)
\nLot 49, 20th Century & Contemporary Art Evening Sale, June 22

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中文閱讀

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Last season, Phillips introduced ULTRA/NEO, a curated section within our 20th Century & Contemporary Art & Design sales featuring ultra-contemporary artists born and raised after the 1970s in a world that has witnessed rapid change, both technological and cultural.

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Our inaugural series turned the spotlight on young Asian talent whose works offer fresh perspectives on globalization, national identity, surreal figurations and the human condition. The name ULTRA/NEO draws on the hyper-contemporary, liminal spaces in which artists of our generation exist.

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For our upcoming 20th Century & Contemporary Art & Design sales in Hong Kong, Phillips is excited to continue this initiative by expanding the artist lineup to Spain, where a new generation of artists shares a comparable conceptual and visual approach.

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Adriana Oliver, April of 1958, 2018
\nEstimate: HK$100,000 - 150,000 (US$12,800 - 19,200)
\nLot 277, 20th Century & Contemporary Art & Design Day Sale, June 21

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Bright pastel color palettes, bold lines and flattened forms dominate the canvases of Javier Calleja, Edgar Plans, Rafa Macarrón, Adriana Oliver, Matías Sanchez, Christine BanBan and Jordi Ribes, who are highly influenced by nostalgic reveries and childhood reminiscences. The wondrous cast of childlike characters dreamed up by these artists touch on themes of loneliness, injustice and nostalgia in a chaotic and unpredictable world.

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With contemporary art constantly evolving — and set against the acceleration of our world today — ULTRA/NEO is our love letter to the artists grappling with these developments and redefining what resonates with collectors of our time. This is the Spanish New Wave.

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Adriana Oliver

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Adriana Oliver’s pop-inspired portraits of faceless figures have earned her work instant appeal. April of 1958 (pictured above) is a prime example from her oeuvre, featuring the blank portrait of a figure dapperly dressed in a suit and tie, rendered with a refined graphic sensibility that evokes a similar pared-back approach as Andy Warhol’s Marilyns.

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Oliver cites film stills from the 1950s and ‘60s as her point of inspiration. The sharp lines and stark color contrasts owe to her skill as a painter, while the immediacy of the composition reflects the artist’s background in photography. Oliver studied photography in university before later transitioning to painting for its greater degree of creative freedom and capacity for storytelling.

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Characteristic of Oliver’s compositions, the protagonist of April of 1958 is depicted with no eyes, a deliberate choice by the artist to emphasize the absence of identity. Olivier says she uses her silhouetted subjects to examine societal expectations in modern-day life and break down “signifiers and characters representing traditional gender construct.”

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“My characters exist in their worlds seeking the same as everyone else, experiencing love and heartbreak, acceptance and rejection.”
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“We are living In a world that is becoming more and more individualized,” she says. “With social media and technology, we are more connected than ever, but at the same time more lonely than ever. It’s difficult to experience deep connections as we live in a society that is extremely superficial and unsettled.

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“My characters exist in their worlds seeking the same as everyone else,” Oliver adds, “experiencing love and heartbreak, acceptance and rejection.”

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Javier Calleja, 1971 , 2018
\nEstimate: HK$3,500,000- 5,500,000
\nLot 19, 20th Century & Contemporary Art Evening Sale, June 22

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Javier Calleja

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The adorable wide-eyed, rose-cheeked boys of Javier Calleja have captivated the hearts of millions around the world, who flock to galleries and exhibitions to come face to face with the watery, pooling gazes of Calleja’s artistic trademark.

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In coming up with the characters, Calleja was compelled to visualize the tender moment when a child stops crying and is about to break into a smile again, a delicate sensation that merges sadness and relief.

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“That is the moment I paint,” the artist once said. “When experiencing something bad and you just had a breakthrough. I think when a child is crying and then stops to cry — they’re a hero. Because he or she decided to overcome the pain.”

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His characters have often been compared to the little girls of Yoshitomo Nara, for whom he apprenticed. But while Nara is known for imbuing his creations with pervading darkness and cynicism — often portrayed as angry or injured characters — Calleja has chosen to celebrate the more light-hearted aspects of growing up.

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“That is the moment I paint, when experiencing something bad and you just had a breakthrough. I think when a child is crying and then stops to cry — they’re a hero. Because he or she decided to overcome the pain.”
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1971, part of the 20th Century & Contemporary Art Evening Sale in Hong Kong, exemplifies Calleja’s playfulness. The title is a reference to his birth year, 1971, and the painting is meant to be a tongue-in-cheek self-portrait doubling as a mugshot, with the boy’s orange shirt reminiscent of a prison jumpsuit, an endearing toddler dressed as a criminal.

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It is an early and captivating example of Calleja’s visual aesthetic, which uses youthful exuberance and infectious positivity to cut through the chaos and uncertainty of our world.

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Edgar Plans, Night Creatures, 2020
\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)
\nLot 48, 20th Century & Contemporary Art Evening Sale, June 22

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Edgar Plans

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Like Calleja, Edgar Plans is known for his cast of whimsical characters that call back to more innocent times.

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Dubbed “Animal Heroes,” Plans’s characters are defined by their mouse-like round ears and colorful masks and encompass a wide range of emotions — joy, mischief, play. Though seemingly innocent on the surface, Plans’s light-hearted illustrations are in fact a commentary on sociopolitical issues ranging from racism and gender inequality to climate change.

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“The Animal Heroes arise from my intention to create pictures of denunciation in favor of the environment,” Plans says, “to denounce the human actions that contaminate, destroy and poke the planet. In turn these heroes have simple powers that today’s society is losing as they are solidarity, companionship, respect… and these animals through art and their actions want to reintroduce people.”

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Close-up of Night Creatures.

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Night Creatures is Plans’s largest work to come to auction and representative of the artist’s ability to harness the boundless creativity of children’s drawings while demonstrating a refined practice through the intricate layering of various mediums and visual planes.

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For the artist, his visual approach is a return to the simplicity and freedom of childhood. Growing up, Plans explored painting and drawing, fueled by his fascination with graffiti, urban art and comic books.

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“I really like children’s art,” he says, “the freedom of expression, the gestures, the strokes and the free use of color. I’m worried about losing those qualities someday.”

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Rafa Macarrón, Cosmos, 2017
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 104, 20th Century & Contemporary Art & Design Day Sale, June 21

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Rafa Macarrón

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Rafa Macarrón’s background in physiotherapy shows in the artist’s tender and compassionate renderings of deformed characters. Macarrón utilizes his understanding of human anatomy in portraying his characters, showcasing his detailed observation of everyday life and existence.

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“To create my elongated figures requires knowledge and respect for anatomy,” he says. “I know the structure of the body perfectly. Then, I begin to try out distortions and deformations, which I think works very well. I am able to create my own characters, each with their own soul and personality.”

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The self-taught artist counts among his inspirations Bonifacio, Alfonso Fraile and Jean Debuffet, whose raw, child-like aesthetic Macarrón emulates. His elongated figures and pastel colors also recall the traditions of Spanish surrealism.

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“To create my elongated figures requires knowledge and respect for anatomy. I know the structure of the body perfectly.”
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Indeed, Cosmos exudes a stylistic flair that resembles those of Joan Miró, Pablo Picasso and Dubuffet. Carrying a sense of tranquility, tenderness and wonder, Macarrón’s fluid, dreamlike realms seem suspended in time, free from the restraints of literal interpretation.

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Matías Sánchez, Pintor a pleno sol (Painter in the Full Sun), 2020
\nEstimate: HK$80,000 - 120,000 (US$10,300 - 15,400)
\nLot 280, 20th Century & Contemporary Art & Design Day Sale, June 21

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Matías Sánchez

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Executed with sumptuously thick impasto, Matías Sánchez’s lively compositions strike a unique balance between abstraction and figuration. Built up and manipulated on canvas as though made of molding clay, each painting can be understood as the materialization of the artist’s wild and whimsical mind. Through his cast of spirited vagrants and crooks, Sánchez pays homage to artistic and literary icons such as Rembrandt, Pablo Picasso, Willem de Kooning and Franz Kafka.

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Painter in the Full Sun is an example of Sánchez’s playful and self-referential style. The devious-looking character is rendered in his characteristically thick layers of paint, surrounded by lush, candy-colored foliage, while the bowler hat and pipe allude to Rene Magritte’s 1967 painting Good Faith.

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Cristina BanBan, Estudio. Septiembre 2020 II, 2020
\nEstimate: HK$80,000 - 120,000 (US$10,300 - 15,400)
\nLot 274, 20th Century & Contemporary Art & Design Day Sale, June 21

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Cristina BanBan

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The female body is the focus of most of Cristina BanBan’s works. Her striking portraits often explore the nature and physicality of the nude figure in a raw yet delicate and expressive style inspired by Neoclassical physiques and voluptuous Rubenesque bodies.

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BanBan weaves complex narratives of intimacy and nostalgia into her work. Estudio. Septiembre 2020 II stands out from the rest of her oeuvre, a still-life that offers an intimate look into her studio. It depicts two paintings in the artist’s workspace, which were exhibited alongside the present work in BanBan’s major dual-gallery show in New York in 2021.

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The piece appears to dive into her creative process, showcasing the effort and emotion that goes into the creation of each elaborate painting. It simultaneously reflects the key themes that permeate BanBan’s body of work and her method and approach to making art.

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Jordi Ribes, Amazing Stories, 2009
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 281, 20th Century & Contemporary Art & Design Day Sale, June 21

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Jordi Ribes

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Jordi Ribes’s narrative-driven paintings transport viewers to a childlike world rich in dreams, adventure and mystery. He is known for an aesthetic that blurs the line between pictorial and digital expression. “On the one hand, my work looks like an image from a computer,” he says, “with a cold and neutral finish that apparently does not exploit the properties of oils, while, on the other hand, it is a painting that can only be done with the oil technique.”

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Indeed, even though it renders an almost artificially polished image, Ribes’s unconventional approach is grounded in traditional oil techniques. He meticulously applies very thin layers of carefully mixed pigment to achieve an impeccable smoothness of gradients. The result is a fluorescent color palette that evokes the fantasy worlds of video games and fairy tales, the radiating glow of screens that bridge the real and fictitious.

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Amazing Stories exemplifies Ribes’s ability to tap into both digital and analogue worlds to produce mystical compositions that drive the mind’s eye. Perhaps inspired by Steven Spielberg’s 1985-87 science fiction series of the same name, the work’s ambiguous form leads viewers to wonder about the next chapter of this painting’s unfolding story.

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\n","2022-06-05T07:01:13.000000Z","https://www.phillips.com/article/97585121/ultra-neo-spanish-new-wave",10,8073,3894,97585121,{"_1757":1874,"_1759":231,"_1760":1875,"_512":1876,"_1763":1877,"_1765":1878,"_1767":1786,"_1769":1770,"_1771":474,"_1772":1879,"_467":867,"_1774":1880,"_1776":1881,"_1778":1882},"https://flockler.com/thumbs/sites/889/165218_a_uc547336-e2265502-8f7b-4901-9e04-d9ca1b7c5224_s600x0.jpg","富藝斯首個《超當代》（ULTRA/NEO）精選系列聚焦國際超當代藝術家，取得空前成功。此系列將於本季載譽歸來，展示活躍於當代的西班牙藝術新浪潮。","超當代：西班牙藝術新浪潮","

拉法．馬卡龍（Rafa Macarrón），《無題（宇宙）》，2015年作
\n估價：700,000 - 1,000,000港元
\n拍品49, 二十世紀及當代藝術晚間拍賣，6月22日

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《超當代》主題系列於上季的二十世紀及當代藝術和設計拍賣中粉墨登場，蒐羅1970年代之後出生的超當代藝術家，而他們成長的經歷正好見證了全球日新月異的科技與文化創建。

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首個《超當代》系列聚焦年輕亞洲人才，他們的作品以嶄新的視角敘述全球化、身份認同、超現實具象、人類生活狀態等主題。鑒於這一代藝術家所處的超當代邊緣空間，富藝斯在主題名稱上融合了意味「極度」與「創新」的兩個單字「Ultra」和「Neo」。

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富藝斯承接去季佳績，將在香港二十世紀及當代藝術與設計拍賣中欣然擴大《超當代》系列的拍品陣容至西班牙，而來自該國的新一代藝術家採納非常類近的創作概念和視覺語言。

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阿德里安娜．奧利弗（Adriana Oliver），《1958年4月》，2018年作
\n估價：100,000 - 150,000 港元
\n拍品 277，二十世紀及當代藝術和設計日間拍賣，6月21日

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活力四射的色彩對比、扁平化及粗線條主宰以下西班牙藝術家的畫布，包括哈維爾．卡列哈（Javier Calleja）、艾得佳．普連斯（Edgar Plans）、拉法．馬卡龍（Rafa Macarrón）、阿德里安娜．奧利弗（Adriana Oliver）、馬蒂亞斯．桑切斯（Matías Sanchez）等。他們深受懷舊遐想和童年回憶的影響，都以孩童異想世界的生物和角色，訴說內心在紛亂世界下對抗孤獨、不平等與念舊等情感。

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當代藝術歷經現今世界的急劇變化，藝術家則努力應對這些發展，並且為年輕世代的藏家重新定義共鳴，而《超當代》正是富藝斯對這群新興藝術家致意的方式。這就是西班牙新浪潮。

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阿德里安娜．奧利弗(Adriana Oliver)

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藝術家阿德里安娜．奧利弗畫筆下的無臉人物肖像畫極具波普風格，有著令人一見傾心的美學魅力。《1958年4月》（April of 1958）是藝術家的一件經典作品，展現了空白背景前一個西裝革履及打扮精緻的人物，其精細的圖像質感讓人聯想起安迪．沃荷（Andy Warhol）《瑪麗蓮》（Marilyn）的簡約風格。

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奧利弗由1950年代和1960年代的電影之中汲取靈感。拍品中硬朗的線條和鮮明的色彩對比來自她的繪畫功底，但畫面所擁有的即時感則出自藝術家在攝影上的訓練。奧利弗在大學期間主修攝影，其後轉向繪畫，從而獲得更大的創作自由和故事敘述的可能性。

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《1958年4月》中的人物沒有眼睛，而藝術家不畫眼睛的刻意選擇強調了身分的缺失。她通過人物輪廓來審視現代生活中的社會期望，希望「打破代表傳統性別架構的能指和特徵。」

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「我的角色存在於他們的世界，與其他人無異，在尋求過程之中，經歷深愛、心碎、接受和拒絕。」
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她指出：「我們的世界越趨個性化，而社交媒體的出現和科技發展讓人與人之間的聯繫比以往任何時候都更加緊密，但同時也比以往任何時候都更加孤獨。當我們活在一個極其膚淺的不安定社會之中，體驗深厚的聯繫可謂難如登天。」

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奧利弗補充：「我的角色存在於他們的世界，與其他人無異，在尋求過程之中，經歷深愛、心碎、接受和拒絕。」

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哈維爾．卡列哈（Javier Calleja）,《1971》，2017年作
\n估價：3,500,000 - 5,500,000港元
\n拍品 19 ，二十世紀及當代藝術晚間拍賣，6月22日

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哈維爾．卡列哈 (Javier Calleja)

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哈維爾．卡列哈筆下的男孩有著可愛大眼睛和玫瑰色臉頰，俘獲全球萬千藏家的心。他們紛紛湧向畫廊和展覽，只為膜拜卡列哈的藝術標誌，面對面凝視這些盈盈秋水的人物。

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構思這些角色期間，卡列哈想像孩子停止哭泣，即將綻放笑容的剎那溫婉時刻，而這種時刻融合了悲傷和寬慰的微妙感覺。

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藝術家曾經說過：「我的繪畫正是捕捉當下一刻，也是我們遇上壞事連連後，鯉魚翻身的時刻。我認為選擇停止哭泣的孩子是英雄，因為他們決定克服痛苦。」

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卡列哈曾是奈良美智的學徒，而外界經常把他的角色與奈良筆下的女童作出比較。雖然奈良通常描繪憤怒或受傷的角色，傾向在他的創作中暗示無處不在的黑暗和憤世嫉俗，並且以此聞名，但卡列哈選擇向茁壯成長的不撓不屈致意。

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「我的繪畫正是捕捉當下一刻，也是我們遇上壞事連連後，鯉魚翻身的時刻。我認為選擇停止哭泣的孩子是英雄，因為他們決定克服痛苦。
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《1971》不僅是香港二十世紀及當代藝術晚拍焦點，更體現了卡列哈的獨有趣味。拍品標題意指他的出生年份1971年，而這件作品是一幅參照了入獄頭像的自畫像。畫中的橙色襯衫讓人想起在囚人士的衣飾，在一個蹣跚學步的可愛孩子身上出現，使其裝成罪犯，畫面幽默詼諧。

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拍品是卡列哈視覺美學的早期典範，以年輕活力和富感染力的正能量衝擊亂世中各種不穩。

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艾得佳．普連斯（Edgar Plans）《夜間生物》，2020年
\n估價：1,200,000 - 1,800,000 港元
\n拍品48 ，二十世紀及當代藝術晚間拍賣，6月22日

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艾得佳．普連斯（Edgar Plans）

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與卡列哈一樣，艾得佳．普連斯以喚起童真的滑稽角色打響名堂。

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普連斯創作的角色名為「動物英雄」，他們帶著像老鼠一樣的圓耳朵及五顏六色的面具，表達了一籮筐的情感，例如喜悅、惡作劇和快樂。畫中的輕鬆插圖看似天真無邪，但實際上是對種族主義、性別平等和氣候變化等社會政治議題的評論。

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普連斯坦言：「這些『動物英雄』源於我想要保護環境，並且譴責人類污染和破壞地球的行為。這些英雄擁有當今社會正在失去的簡單力量：團結一致、守望相助、互相尊重……通過這些『動物英雄』的行動，我希望引導人類重回正軌。」

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普連斯的藝術詞彙讓人重拾童真的純粹。他自幼探索繪畫與素描，以各式塗鴉、城市藝術和漫畫書為靈感。

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他曾說：「我真的很喜歡兒童藝術：表達的自由、姿態、筆觸和自由用色。我擔心有一天會失去這些品質。」

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《夜間生物》是藝術家在拍賣市場中的尺幅最大的作品。普連斯刻意利用兒童繪畫的無窮創造力，並以各式媒介交織成一層層錯綜複雜的視覺平面，展現其精湛的創作技藝。

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拉法．馬卡龍（Rafa Macarrón），《宇宙》，2017年作
\n估價：200,000 - 300,000港元
\n拍品 104 ，二十世紀及當代藝術和設計日間拍賣，6月21日

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拉法．馬卡龍（Rafa Macarrón）

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拉法．馬卡龍本是物理治療師，如此專業背景為畫中畸形角色帶來溫柔與同情。藝術家利用對人體解剖學的理解來描繪筆下的角色，展示他對日常生活和存在本身的細緻觀察。

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馬卡龍表示：「創建這些畸形的角色需要了解和尊重解剖學。由於我完全了解身體的結構，我開始嘗試扭曲軀幹和改變形態，並且認為效果很好。我能夠創造自己的角色，讓每個角色擁有自己的靈魂和個性。」

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這位自學成才的藝術家以伯尼法西奧（Bonifacio）、阿方索．弗萊萊（Alfonso Fraile）、尚．杜布菲（Jean Debuffet）為靈感，作品同樣散發純粹的童真氣質，而畸形角色和柔和用色則酷似西班牙的超現實主義風格。

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「創建這些畸形的角色需要了解和尊重解剖學，而我完全了解身體的結構。」
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《宇宙》讓人想起胡安．米羅（Joan Miró）、巴勃羅．畢卡索（Pablo Picasso）、杜布菲等藝術家。馬卡龍的畫作給人一種寧靜、溫柔和奇妙的感覺，如夢境般流動的作品似乎被懸置於時間和空間中，不為流於表面的闡釋所桎梏。

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馬蒂亞斯．桑切斯（Matías Sánchez），《豔陽下的畫家》，2020年作
\n估價：80,000 - 120,000港元
\n拍品 280 ，二十世紀及當代藝術和設計日間拍賣，6月21日

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馬蒂亞斯．桑切斯(Matías Sánchez)

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馬蒂亞斯．桑切斯的生動作品以華麗豐實的厚塗技巧完成，在抽象和具象之間取得獨特平衡。畫布的構建和操作彷彿採用模塑粘土製成，每幅畫作都可被理解為藝術家狂野思緒的具體化。桑切斯通過充滿活力的流浪漢和騙子角色，向倫勃朗（Rembrandt）、巴勃羅．畢卡索(Pablo Picasso)、威廉．德庫寧（Willem de Kooning）和法蘭斯．卡夫卡（Franz Kafka）等藝術和文學標誌致敬。

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《豔陽下的畫家》是桑切斯參照自我風格的俏皮範例之一。藝術家以厚塗的油彩描繪貌似狡猾的角色，四周被鬱鬱蔥蔥的糖果色樹葉環繞，而圓頂禮帽和煙斗則參照了雷內．馬格里特（Rene Magritte）1967 年的畫作《誠信》。

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姬絲汀娜．班班（Cristina BanBan），《藝術工作室｡ 2020年9月 II》，2020年作
\n估價：80,000 - 120,000 港元
\n拍品 274 ，二十世紀及當代藝術和設計日間拍賣，6月21日

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姬絲汀娜．班班（Cristina BanBan）

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女性身體是姬絲汀娜．班班作品的主要焦點。她的肖像畫作引人注目，經常以一種原始而精緻的風格探索裸體人物的性質和身體特徵，極具表現力。如此靈感來自新古典主義的體格和魯本式豐滿朣體。

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班班在她的作品中融入有關親密和懷舊的複雜敘述，而《藝術工作室｡ 2020年9月 II》從她的作品集中脫穎而出。拍品是靜物畫作，讓觀者近距離查看她的工作室。畫面描繪藝術家工作室的兩幅畫作，與拍品同於2021年在紐約舉行的大型雙畫廊展覽中展出。

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這件作品似乎潛入了班班的創作過程，呈現了每幅精美畫作的背後工夫和情感。同時，它反映了滲透在藝術家作品的關鍵主題，以及她的藝術語言和創作方法。

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喬迪．里伯斯（Jordi Ribes），《令人驚喜的故事》，2009年作
\n估價： 200,000 – 300,000 港元
\n拍品281 ，二十世紀及當代藝術和設計日間拍賣，6月21日

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喬迪．里伯斯（Jordi Ribes）

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喬迪．里伯斯在1972年出生於巴塞羅拿，以敘事為重點的繪畫將觀者帶入一個充滿夢想和冒險精神的神秘童年空間。里伯斯以遊走圖像和數碼創作之間的界限而聞名，使用油漆創作他的作品，而油漆正是一種極具可塑性的媒材。

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「我喜歡模棱兩可和解讀的多樣性。繪畫可以通過角色、風景、色彩，抑或上述元素的從缺，傳遞張力。
\n

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在2009年作品《令人驚喜的故事》中，一名孤獨的女性正在穿越被高大竹狀圓柱包圍的銀色水面。她背對觀者，往紅橙色的物體前行；該物體部分被糖果色色塊覆蓋，而這些色塊從尖頂以傾瀉式排列，輕輕掠過水邊。這座大型結構表面看來模棱兩可，卻飾有兩個深色窗戶般的矩形。當與人物臂下的頭盔一起聯想時，畫面似乎暗示了有關外星旅行和宇宙飛船的主題。拍品也許受到導演史提芬．史匹堡（Steven Spielberg）1985至1987 年的同名科幻電視劇影響，體現了里伯斯以模擬數碼世界和創作神秘構圖的能力，讓觀者徘徊在這個未完成故事的下一章，扣人心弦。

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“Rather than depicting any specific moments, I want to present instances of uncertain chaos…I guess it's kind of how I feel with a lot of things that happen; where a level of anxiety goes hand-in-hand with the unpredictable nature of life.”\n— Anna Park

Chaos Through the Looking Glass

Blurring the Divide

Collector’s Digest

On obsession

On embracing mistakes

Lam with Anna Weyant’s Chest. “In pictures, I always look at the hands because gestures always tell you about the subtext.”

On truth

Lam with Anna Weyant’s Untitled.

On dual lives

Issy Wood, A Junction, 2020\nEstimate: HK$900,000 - 1,200,000 (US$115,000 - 154,000)\nLot 270, 20th Century & Contemporary Art & Design Day Sale, June 21

On inspiration

On broken beauty

Lam with Chiharu Shiota’s Skin series, executed in 2016. Clockwise from top left: Lot 205, Lot 207, Lot 209, Lot 206 and Lot 208.

On reclaiming the female body

Julie Curtiss, Funky Boots, 2017\nEstimate: HK$600,000 - 800,000 (US$76,900 - 103,000)\nLot 1, 20th Century & Contemporary Art Evening Sale, June 22

Shara Hughes, Over the Overcast, 2020\nEstimate: HK$1,800,000 - 2,800,000 (US$231,000 - 359,000)\nLot 111, 20th Century & Contemporary Art & Design Day Sale, June 21

On ambiguity

On her most recent project

關於迷戀

抱擁缺憾

林嘉欣與安娜．維揚特的作品《胸膛》。Karena表示：「觀賞圖像時，我總是注視手部，因為手勢讓人知道當中的潛台詞。」

關於真相

林嘉欣與安娜．維揚特的《無題》。

雙重身分

伊西．伍德(Issy Wood)，《一個路口》，2020年作\n估價：900,000 - 1,200,000港元\n拍品270，二十世紀及當代藝術和設計日間拍賣，6月21日

關於靈感

美是一種接納

林嘉欣與鹽田千春的2016年作品系列《肌膚》。左上方順時針排序：拍品205、207、209、206、208。

重奪女性身體自主權

朱莉．柯蒂斯（Julie Curtiss），《時髦的靴子》，2017年作\n估價：600,000 - 800,000 港元\n拍品1，二十世紀及當代藝術晚間拍賣，6月22日

莎拉．休斯（Shara Hughes），《漫漫烏雲之上》，2020年作\n估價：1,800,000 - 2,800,000港元\n拍品111，二十世紀及當代藝術和設計日間拍賣，6月21日

模棱兩可之藝術

關於近作

Gallery:

Pantone Room:

20th Century & Contemporary Art Evening Sale

20th Century & Contemporary Art & Design Day Sale

展覽:

Pantone Room:

二十世紀及當代藝術晚間拍賣

二十世紀及當代藝術和設計日間拍賣

George Condo, Transparent Female Forms , 2009\nEstimate: HK$25,000,000 - 35,000,000 (US$3,210,000-4,490,000)\nLot 9, 20th Century & Contemporary Art & Design Evening Sale, June 22

David Hockney, Painted Landscape (Or Red and Blue Landscape), 1965\nEstimate: HK$16,000,000 - 24,000,000 (US$2,050,000-3,080,000)\nLot 12, 20th Century & Contemporary Art & Design Evening Sale, June 22

Matthew Wong, Pink Wave, 2017\nEstimate: HK$16,000,000 - 26,000,000 (US2,050,000-3,330,000)\nLot 11, 20th Century & Contemporary Art & Design Evening Sale, June 22

喬治．康多（George Condo），《透明女性形態》，2009年作\n估價：25,000,000 - 35,000,000 港元\n拍品9，二十世紀及當代藝術晚間拍賣，6月22日

大衛．霍克尼（David Hockney），《風景畫（或紅色與藍色風景）》，1965年作\n估價：16,000,000 - 24,000,000港元\n拍品12，二十世紀及當代藝術晚間拍賣，6月22日

王俊傑，《粉紅海浪》，2017年作\n估價：16,000,000 - 26,000,000港元\n拍品11，二十世紀及當代藝術晚間拍賣，6月22日

奈良美智《無題》，1991年作。\n估價6,000,000 - 8,000,000港元\n拍品20, 二十世紀及當代藝術晚間拍賣

奈良美智的一人世界

博伊曼斯的神秘宇宙

米凱爾·博伊曼斯(Michael Borremans)《星星》，2008年作。\n估價2,000,000 - 3,000,000港元\n拍品23, 二十世紀及當代藝術晚間拍賣

張曉剛的血緣大家庭

張曉剛 《血緣系列—大家庭》，2006年作。\n估價7,500,000 - 10,000,000港元\n拍品25, 二十世紀及當代藝術晚間拍賣

喬治康多的另類全家福

喬治·康多 (George Condo) 《陌生人》，2009年作。\n估價5,000,000 - 6,500,000港元\n拍品17, 二十世紀及當代藝術晚間拍賣

Scott Kahn, Cadman Plaza, 2002\nSold for HK$7,510,000 (US$963,000) at Phillips’ 20th Century & Contemporary Art Evening Sale, November 2021, Hong Kong

Lucy Bull

Ouattara Watts, Intercessor, 2003\nEstimate: HK$800,000 - 1,200,000 (US$103,000 - 154,000)\nLot 30, 20th Century & Contemporary Art Evening Sale, June 22

Ouattara Watts

Anna Park, I to I, 2019\nEstimate: HK$300,000 - 500,000 (US$38,500 - 64,100)\nLot 35, 20th Century & Contemporary Art Evening Sale, June 22

Anna Park

Trey Abdella, Some Things Aren't Worth Waiting For, 2019\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)\nLot 36, 20th Century & Contemporary Art Evening Sale, June 22

Trey Abdella

Jason Boyd Kinsella, Summers (the elder), 2021\nEstimate: HK$150,000 - 250,000 (US$19,200 - 32,100)\nLot 263, 20th Century & Contemporary Art & Design Day Sale, June 21

Jason Boyd Kinsella

斯科特．卡恩（Scott Kahn），《卡德曼廣場》，2002年作\n成交價：7,510,000港元\n富藝斯香港二十世紀及當代藝術晚間拍賣，2021年11月

露西．布爾

瓦塔拉．瓦特斯（Ouattara Watts），《中間人》，2003年作\n估價：800,000 - 1,200,000港元\n拍品30，二十世紀及當代藝術晚間拍賣，6月22日

瓦塔拉．瓦特斯

安娜·帕克（Anna Park），《I 到 I》 ，2019年作\n估價：300,000 - 500,000 港元\n拍品35，二十世紀及當代藝術晚間拍賣，6月22日

\n安娜．帕克

特雷．阿卜杜拉（Trey Abdella），《有些事情不值得等待》，2019年作\n估價：600,000 - 900,000港元\n拍品36，二十世紀及當代藝術晚間拍賣，6月22日

特雷．阿卜杜拉

傑臣·博伊德·金賽拉（Jason Boyd Kinsella），《數個夏天（長者）》，2021年作\n估價：150,000 - 250,000港元\n拍品263，二十世紀及當代藝術和設計日間拍賣，6月21日

傑臣．博伊德．金賽拉

Adriana Oliver, April of 1958, 2018\nEstimate: HK$100,000 - 150,000 (US$12,800 - 19,200)\nLot 277, 20th Century & Contemporary Art & Design Day Sale, June 21

Adriana Oliver

Javier Calleja, 1971 , 2018\nEstimate: HK$3,500,000- 5,500,000\nLot 19, 20th Century & Contemporary Art Evening Sale, June 22

Javier Calleja

“Rather than depicting any specific moments, I want to present instances of uncertain chaos…I guess it's kind of how I feel with a lot of things that happen; where a level of anxiety goes hand-in-hand with the unpredictable nature of life.”
\n— Anna Park

Issy Wood, A Junction, 2020
\nEstimate: HK$900,000 - 1,200,000 (US$115,000 - 154,000)
\nLot 270, 20th Century & Contemporary Art & Design Day Sale, June 21

Julie Curtiss, Funky Boots, 2017
\nEstimate: HK$600,000 - 800,000 (US$76,900 - 103,000)
\nLot 1, 20th Century & Contemporary Art Evening Sale, June 22

Shara Hughes, Over the Overcast, 2020
\nEstimate: HK$1,800,000 - 2,800,000 (US$231,000 - 359,000)
\nLot 111, 20th Century & Contemporary Art & Design Day Sale, June 21

伊西．伍德(Issy Wood)，《一個路口》，2020年作
\n估價：900,000 - 1,200,000港元
\n拍品270，二十世紀及當代藝術和設計日間拍賣，6月21日

朱莉．柯蒂斯（Julie Curtiss），《時髦的靴子》，2017年作
\n估價：600,000 - 800,000 港元
\n拍品1，二十世紀及當代藝術晚間拍賣，6月22日

莎拉．休斯（Shara Hughes），《漫漫烏雲之上》，2020年作
\n估價：1,800,000 - 2,800,000港元
\n拍品111，二十世紀及當代藝術和設計日間拍賣，6月21日

George Condo, Transparent Female Forms , 2009
\nEstimate: HK$25,000,000 - 35,000,000 (US$3,210,000-4,490,000)
\nLot 9, 20th Century & Contemporary Art & Design Evening Sale, June 22

David Hockney, Painted Landscape (Or Red and Blue Landscape), 1965
\nEstimate: HK$16,000,000 - 24,000,000 (US$2,050,000-3,080,000)
\nLot 12, 20th Century & Contemporary Art & Design Evening Sale, June 22

Matthew Wong, Pink Wave, 2017
\nEstimate: HK$16,000,000 - 26,000,000 (US2,050,000-3,330,000)
\nLot 11, 20th Century & Contemporary Art & Design Evening Sale, June 22

喬治．康多（George Condo），《透明女性形態》，2009年作
\n估價：25,000,000 - 35,000,000 港元
\n拍品9，二十世紀及當代藝術晚間拍賣，6月22日

大衛．霍克尼（David Hockney），《風景畫（或紅色與藍色風景）》，1965年作
\n估價：16,000,000 - 24,000,000港元
\n拍品12，二十世紀及當代藝術晚間拍賣，6月22日

王俊傑，《粉紅海浪》，2017年作
\n估價：16,000,000 - 26,000,000港元
\n拍品11，二十世紀及當代藝術晚間拍賣，6月22日

奈良美智《無題》，1991年作。
\n估價6,000,000 - 8,000,000港元
\n拍品20, 二十世紀及當代藝術晚間拍賣

米凱爾·博伊曼斯(Michael Borremans)《星星》，2008年作。
\n估價2,000,000 - 3,000,000港元
\n拍品23, 二十世紀及當代藝術晚間拍賣

張曉剛《血緣系列—大家庭》，2006年作。
\n估價7,500,000 - 10,000,000港元
\n拍品25, 二十世紀及當代藝術晚間拍賣

喬治·康多 (George Condo) 《陌生人》，2009年作。
\n估價5,000,000 - 6,500,000港元
\n拍品17, 二十世紀及當代藝術晚間拍賣

**Scott Kahn, Cadman Plaza, 2002**
\nSold for HK$7,510,000 (US$963,000) at Phillips’ 20th Century & Contemporary Art Evening Sale, November 2021, Hong Kong

**Ouattara Watts, Intercessor, 2003**
\nEstimate: HK$800,000 - 1,200,000 (US$103,000 - 154,000)
\nLot 30, 20th Century & Contemporary Art Evening Sale, June 22

**Anna Park, I to I, 2019**
\nEstimate: HK$300,000 - 500,000 (US$38,500 - 64,100)
\nLot 35, 20th Century & Contemporary Art Evening Sale, June 22

**Trey Abdella, Some Things Aren't Worth Waiting For, 2019**
\nEstimate: HK$600,000 - 900,000 (US$76,900 - 115,000)
\nLot 36, 20th Century & Contemporary Art Evening Sale, June 22

**Jason Boyd Kinsella, Summers (the elder), 2021**
\nEstimate: HK$150,000 - 250,000 (US$19,200 - 32,100)
\nLot 263, 20th Century & Contemporary Art & Design Day Sale, June 21

斯科特．卡恩（Scott Kahn），《卡德曼廣場》，2002年作
\n成交價：7,510,000港元
\n富藝斯香港二十世紀及當代藝術晚間拍賣，2021年11月

瓦塔拉．瓦特斯（Ouattara Watts），《中間人》，2003年作
\n估價：800,000 - 1,200,000港元
\n拍品30，二十世紀及當代藝術晚間拍賣，6月22日

安娜·帕克（Anna Park），《I 到 I》，2019年作
\n估價：300,000 - 500,000 港元
\n拍品35，二十世紀及當代藝術晚間拍賣，6月22日

特雷．阿卜杜拉（Trey Abdella），《有些事情不值得等待》，2019年作
\n估價：600,000 - 900,000港元
\n拍品36，二十世紀及當代藝術晚間拍賣，6月22日

傑臣·博伊德·金賽拉（Jason Boyd Kinsella），《數個夏天（長者）》，2021年作
\n估價：150,000 - 250,000港元
\n拍品263，二十世紀及當代藝術和設計日間拍賣，6月21日

Adriana Oliver, April of 1958, 2018
\nEstimate: HK$100,000 - 150,000 (US$12,800 - 19,200)
\nLot 277, 20th Century & Contemporary Art & Design Day Sale, June 21

Javier Calleja, 1971 , 2018
\nEstimate: HK$3,500,000- 5,500,000
\nLot 19, 20th Century & Contemporary Art Evening Sale, June 22

Edgar Plans, Night Creatures, 2020
\nEstimate: HK$1,200,000 - 1,800,000 (US$154,000 - 231,000)
\nLot 48, 20th Century & Contemporary Art Evening Sale, June 22

Rafa Macarrón, Cosmos, 2017
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 104, 20th Century & Contemporary Art & Design Day Sale, June 21

Matías Sánchez, Pintor a pleno sol (Painter in the Full Sun), 2020
\nEstimate: HK$80,000 - 120,000 (US$10,300 - 15,400)
\nLot 280, 20th Century & Contemporary Art & Design Day Sale, June 21

Cristina BanBan, Estudio. Septiembre 2020 II, 2020
\nEstimate: HK$80,000 - 120,000 (US$10,300 - 15,400)
\nLot 274, 20th Century & Contemporary Art & Design Day Sale, June 21

Jordi Ribes, Amazing Stories, 2009
\nEstimate: HK$200,000 - 300,000 (US$25,600 - 38,500)
\nLot 281, 20th Century & Contemporary Art & Design Day Sale, June 21

阿德里安娜．奧利弗（Adriana Oliver），《1958年4月》，2018年作
\n估價：100,000 - 150,000 港元
\n拍品 277，二十世紀及當代藝術和設計日間拍賣，6月21日

哈維爾．卡列哈（Javier Calleja）,《1971》，2017年作
\n估價：3,500,000 - 5,500,000港元
\n拍品 19 ，二十世紀及當代藝術晚間拍賣，6月22日

艾得佳．普連斯（Edgar Plans）《夜間生物》，2020年
\n估價：1,200,000 - 1,800,000 港元
\n拍品48 ，二十世紀及當代藝術晚間拍賣，6月22日

拉法．馬卡龍（Rafa Macarrón），《宇宙》，2017年作
\n估價：200,000 - 300,000港元
\n拍品 104 ，二十世紀及當代藝術和設計日間拍賣，6月21日

馬蒂亞斯．桑切斯（Matías Sánchez），《豔陽下的畫家》，2020年作
\n估價：80,000 - 120,000港元
\n拍品 280 ，二十世紀及當代藝術和設計日間拍賣，6月21日

姬絲汀娜．班班（Cristina BanBan），《藝術工作室｡ 2020年9月 II》，2020年作
\n估價：80,000 - 120,000 港元
\n拍品 274 ，二十世紀及當代藝術和設計日間拍賣，6月21日

喬迪．里伯斯（Jordi Ribes），《令人驚喜的故事》，2009年作
\n估價： 200,000 – 300,000 港元
\n拍品281 ，二十世紀及當代藝術和設計日間拍賣，6月21日

35

Anna Park

I to I

Further Details

Full-Cataloguing

Anna Park