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

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Serene yet seductive, The Masquerade unfolds before its audience with a sultry cinematic flare that underpins Caroline Walker’s unique visual language. Painted in 2012 and exhibited in the artist’s first public solo exhibition in London In Every Dream Home, the present work is a potent example from a series that explored the intersections between role-playing, gender conformity, domesticity, and class.

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The Soul of an Interior

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There is a solemn dreamlike quality to the In Every Dream Home paintings, each depicting various female protagonists within luxurious domestic settings. However, each also begs closer inspection as surface perfection seems to cloak the truth, as if each scene is rehearsed and directed. Fittingly, Caroline Walker’s deliberate working method was purely directorial: seeking out real, unique locations, and along with a cast of models with costumes and props, the artist staged photoshoots from which she drew inspiration when she painted the final pieces. According to the artist, ‘since representational painting is already such a space of construction and illusion, the process itself just seems to compound the fiction.’ ⁱ

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“I’m interested in the relationship between the real and the imaginary particularly with the performative aspect of the work. At the beginning of a photoshoot the women are always very aware of themselves being looked at; they watch each other and are keen to control how I look at them…The real interaction, which is what I hope to catch, only really starts when they stop being aware of my presence.”
\n— Caroline Walker

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Drawing from the 1973 Roxy Music song, In Every Dream Home a Heartache—which inspired the title of Caroline Walker’s 2013 exhibition—The Masquerade is a perfect summary of its lyrics. The song’s narrator describes his hyper materialistic world with ‘penthouse perfection’ in tow, in which he installs his ‘disposable darling’, a mail-order inflatable sex doll: the tale of a crude and distorted doll house of sorts thus comes to life. The artist explains: ‘Like a dream-home lifestyle, the doll itself embodies fantasy and artifice. This struck a chord with me in the way I populate my paintings with alienated, nameless women, often in states of undress, available for our projected fantasies, sexual or otherwise.’ ⁱⁱ

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Roxy Music’s In Every Dream Home a Heartache, 1973

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Indeed, The Masquerade aptly captures the confluence of such topics. We peek into a scene set behind bright red framed windows: a woman in a flowing emerald gown looks down at a white masquerade mask laid out on a table, and what appear to be a crown and a fan are discarded around her. We are unsure whether she is undressing from, or about to attend, some sort of masked ball; or which prop she will finally choose. The overall effect is voyeuristic, and a certain eroticism pervades the painting—the metaphor of our doll encased behind glass is therefore apt and charged with meaning.

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Through a Domestic Lens

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The succinctness of the symbology used in Walker’s work can be attributed to the artist’s wide range of filmic influences, including that of David Lynch and Alfred Hitchcock: ‘I think it’s that space that both Hitchcock and Lynch achieve between the banal or familiar and the threatening. They both use visual signifiers very effectively as well – recurring colour motifs in the character’s clothing or environment for example which re-enforce an overarching atmosphere seem very painterly, and is definitely a strategy I use when working in series.’ ⁱⁱⁱ

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David Lynch's Rabbits, 2002

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Because Walker champions the two filmmakers’ use of strong motifs and symbols, it is unsurprising she turned to other cultural iconography such as the neopagan archetype of the Triple Goddess when creating the present series: ‘My female subjects inhabit different archetypes both in the home, such as the housewife, cleaner, house sitter or intruder and wider female archetypes such as the witch, femme fatale, mother, and many others. With a number of the paintings in this exhibition [In Every Dream Home] I was exploring the pagan idea of the triple goddess: Maiden, Mother, Crone which are these 3 stages of woman.’ ^ivThus the mask, the crown, and the fan depicted within The Masquerade may also similarly evoke deeper connotations of a woman’s purpose and life-cycle, especially when set against the ordinary backdrop of the home. The tripartite of symbols is rich with meaning: the performative aspect of assuming different gender roles (the mask), female empowerment (the crown), or even vanity and beauty (the fan)—just one allegorical interpretation amongst many for The Masquerade.

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\"\" — Eric Fischl, *Krefeld Project: Bathroom Scene 2*, 2003
\n© 2022 Eric Fischl / Artists Rights Society (ARS), New York

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Caroline Walker’s intimate portrayals of the prosaic underbelly of suburban life are not dissimilar to the art of Eric Fischl, whom the artist also names as another influence. Of significance perhaps is Fischl’s 2002 project entitled The Krefeld Project, during which photo sessions spanning three days took place in a temporarily furnished home in Germany, ‘inhabited’ by two actors. Various scenes were captured within the artificial domestic setting, culminating in a series of paintings rendering this convergence of performance and real life. This investigation of mundanity is a fascination that both artists share, and as Walker explains, ‘[t]here’s something about the banality and boredom of domesticity mixed with the voyeurism and eroticism in all of these works which intrigues me.’ ^v

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The Female Gaze

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“My work definitely engages with that history of painting women, which has largely cast the male artist as the portrayer of the female realm. I suppose I’m revisiting that, but through a female gaze. And I’m interested in whether the knowledge that something has been painted by a woman might change the way you feel about what you are looking at, or challenge your assumptions about a relationship between artist and model.”
\n— Caroline Walker

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The utter dissection and scrutiny of the everyday are key to Caroline Walker. One detects links to sources as diverse as Edward Hopper and David Hockney (both of whom turned to quotidian life for artistic stimulus), to the pioneering 19^th Century Intimisme artists Édouard Vuillard and Pierre Bonnard, whose devoted depictions of banal but personal domestic scenes paved the way to a new artistic movement. Of particular note however is Walker’s commitment to capturing such scenes as seen through a female lens—the same for which cannot be said about her male predecessors. In her unyielding preference for depicting women, Walker challenges our societal perceptions for the female figures she renders, forcing us to fill in the gaps within the narratives she constructs. Her paintings are thus mirrors that reveal more about ourselves than perhaps the images into which we peer.

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\"\" — Left: Édouard Vuillard, *Mme Vuillard Sewing by the Window, rue Truffaut*, circa 1889
\nCollection of the Metropolitan Museum of Art, New York
\nImage: © The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975
\n
\nRight: Edward Hopper, *New York Office*, 1962
\nCollection of the Montgomery Museum of Fine Arts
\nImage: Bridgeman Images, Artwork: © 2022 Heirs of Josephine Hopper / Licensed by VAGA at Artists Rights Society (ARS), New York

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Collector’s Digest

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The below is an excerpt from Emily Spicer’s interview with the artist for studio international in 2017.

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Emily Spicer: Tell me about your process? I’ve read that you have a particular way of working.

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Caroline Walker: It’s quite an elaborate process that starts with finding a location for a photoshoot. When I have a location, I look for models, props and clothing. I start to build a story in my head and then I spend a day on location, photographing the models. I almost try to storyboard that, like doing a primitive version of a film shoot, I suppose, although I usually go off track quite quickly and start ad-libbing. I might get hundreds of photographs. Then I’ll work with them back at the studio and start making lots of drawings and oil sketches. So I start putting together potential big paintings, thinking about how they might join up narratively.

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ES: Why do you so often set your paintings in modernist interiors?

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CW: I think that started with my desire to bring my subject matter into a more contemporary context because, up until about 2010, it seemed that I was always painting interiors of traditionally decorated Victorian houses. At some point around 2010, I began to think about how the environment would affect how you feel about the figures in the paintings and what their situation is. I had the opportunity to use a contemporary home as a setting for a photoshoot and the resulting paintings immediately seemed to engage more with how we live now, instead of looking as though they could have been painted any time in the last 150 years.

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[...]

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ES: The way you paint your figures in these spaces makes it feel as though we are spying on them; it’s quite voyeuristic. We are viewing them through windows, often from a height or through bannisters as though we’re sneaking around the house, and this creates a bit of a tension. Is that something that you are striving for, or is it a byproduct of a different aim?

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CW: There is definitely a strong sense of voyeurism in my work. I’m interested in challenging the position of the viewer, particularly in relation to my female subjects. And the paintings are very large, so there’s a sense that you could almost step into the scene. I don’t want the paintings to feel like pictures of something that’s happening somewhere else. I want you to feel like you’re involved or implicated in what’s going on.

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Read the full interview here.

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^i-vCaroline Walker, quoted in Daisy Woodward, ‘Caroline Walker: In Every Dream Home’, AnOther, 2013, online

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Hong Kong Viewing

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Highlight Preview

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25-26 November, 10:00am–7:00pm

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Viewing

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27-30 November, 10:00am–7:00pm

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1 December, 10:00am–4:30pm

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International Tour

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Singapore

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13-15 October, 11:00am–7:00pm

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28-29 October, 11:00am–6:00pm

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The St Regis Singapore

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29 Tanglin Road,

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Singapore 247911

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Beijing

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25-26 October, 11:00am-6:30pm

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Rosewood Beijing 4/F

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Jing Guang Center, Hujialou, Chaoyang District Beijing

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Pavilion Ballroom

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Taichung

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9 November, 11:00am-6:00pm

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Fong Yi Gallery

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B1, No. 110, Sec. 1, Wu Quan W. Road, West District, Taichung

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Taipei

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12-13 November 2022, 11:00am-6:00pm

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Bellavita Gallery

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B1, No. 28, Song Ren Road, Xinyi District, Taipei

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Shanghai

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VIP preview

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10 November, 2:00pm-8:00pm

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11 November, 1:00pm-8:00pm

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Open to Public

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12-13 November, 11:00am-6:00pm

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2022 Art021 Shanghai Contemporary Art Fair

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Shanghai Exhibition Center

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No. 1000, Middle Yan An Road, Jingan District, Shanghai

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Booth S45 S46 D01 E02

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View & Download e-Catalogue >

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Babbar",105000,5040000,"35","highlights",[1454,1459,1463,1467,1471,1475,1479,1483,1487,1491],{"_590":1455,"_519":1456,"_1457":1458},"https://assets.phillips.com/auctions/HK010322/179046_1_HL_hi.jpg","

GERHARD RICHTER Abstraktes Bild (774-1), 1992

\n","version","1668739302",{"_590":1460,"_519":1461,"_1457":1462},"https://assets.phillips.com/auctions/HK010322/41_hi.jpg","

MARÍA BERRÍO The Lovers 2, 2015

\n","1668677774",{"_590":1464,"_519":1465,"_1457":1466},"https://assets.phillips.com/auctions/HK010322/42_hi.jpg","

LOIE HOLLOWELL Split Orbs in gray-brown, yellow, purple and carmine, 2021

\n","1668677762",{"_590":1468,"_519":1469,"_1457":1470},"https://assets.phillips.com/auctions/HK010322/44_hi.jpg","

CHIHARU SHIOTA State of Being (Boy’s Kimono), 2013

\n","1668677732",{"_590":1472,"_519":1473,"_1457":1474},"https://assets.phillips.com/auctions/HK010322/45_hi.jpg","

DEREK FORDJOUR Single Pivot Turn, 2018

\n","1668677722",{"_590":1476,"_519":1477,"_1457":1478},"https://assets.phillips.com/auctions/HK010322/46_hi.jpg","

MICHAËL BORREMANS The Butter Sculptor, 2000

\n","1668677706",{"_590":1480,"_519":1481,"_1457":1482},"https://assets.phillips.com/auctions/HK010322/47a_hi.jpg","

MICHAËL BORREMANS The Assistant, 2000

\n","1668703197",{"_590":1484,"_519":1485,"_1457":1486},"https://assets.phillips.com/auctions/HK010322/48_hi.jpg","

JULIEN NGUYEN Faust II, 2017

\n","1668677645",{"_590":1488,"_519":1489,"_1457":1490},"https://assets.phillips.com/auctions/HK010322/49_hi.jpg","

TREY ABDELLA Sunny Days, 2020

\n","1668677633",{"_590":1492,"_519":1493,"_1457":1494},"https://assets.phillips.com/auctions/HK010322/410_hi.jpg","

LOUISE BONNET The Swimmer, 2016

\n","1668677618","articles",[1497,1521,1531,1541,1551,1561,1571,1581],{"_1498":1499,"_1500":231,"_1501":1502,"_519":1503,"_1504":1505,"_1506":1507,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1514,"_467":474,"_1515":1516,"_1517":1518,"_1519":1520},"coverUrl","https://flockler.com/thumbs/sites/889/171534_lmf_uc710554-402d5402-39b6-4bfa-be90-be10de8fa1e6_s600x0.jpg","section","summary","We go beyond the surface to explore how six ground-breaking artists have pushed boundaries, unified art forms and communicated through both interaction and immersion. ","Beyond the Surface: 6 masters of mixed media","body","

Chiharu Shiota, State of Being (Boy’s Kimono), 2013
\nmetal, black thread and kimono
\nLot 16, Estimate HK$1,500,000 - 2,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December
\n

\n\n

中文閱讀

\n\n

Phillips Hong Kong will showcase masters of mixed media at the Fall Auctions of the 20^th Century & Contemporary Art and Design Sales, including works by Damien Hirst, Yayoi Kusama and Chiharu Shiota. Explore how six ground-breaking artists have pushed boundaries, unified art forms and communicated through both interaction and immersion.

\n\n

Damien Hirst

\n\n

\n\n

Damien Hirst, Forgiven, 2008
\nbutterflies and household gloss on canvas
\nLot 10, Estimate HK$ 6,000,000 - 9,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

\n\n

“You have to find universal triggers, everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.” - Damien Hirst

\n\n

By 2003, Hirst had become the UK’s leading importer of butterflies, having featured them extensively in his oeuvre. A significant number of these appear in the glossy kaleidoscope mosaic of Forgiven (2008), perhaps encapsulating everything you need to know about the British artist in one fell swoop.

\n\n

Forgiven is part of Hirst’s 2001 Kaleidoscope series, where the artist methodically collected and arranged thousands of butterfly wings to form concentric circles on spherical canvases. Likened to the radial arrangement of some Gothic stained windows in great European cathedrals, there is the feeling of veneration and spirituality that comes with the piece – a deep, solemn acknowledgement of death and our temporary existence, one day transcending flesh, and perhaps being resurrected in a higher being’s own multicolored, mixed media canvas.

\n\n

\n\n

Damien Hirst, After the Rain, 2007
\nbutterflies and household gloss on canvas
\nLot 237, Estimate HK$ 3,000,000 - 5,000,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

\n\n

\nAfter the Rain holds a similar reflection on life – or perhaps the resilience of life – as shown through the butterfly motif. The individuality of each butterfly, from their unique wing patterns to their position in the work’s composition, is heightened against the emerald-green gloss. Stark, scattered, and in some areas, sparse, the composition alludes to life stirring awake even after downpour.

\n\n

María Berrío

\n\n

\n\n

María Berrío, The Lovers 2, 2015
\nwatercolor, swarovski rhinestones and Japanese rice paper collage on canvas
\nLot 3, Estimate HK$ 4,000,000 - 5,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December
\n

\n\n

Colombian-born Berrío is pioneering a new wave of Latin American art, delivering highly intricate works that speak to the spirit of Central and South America’s magical realist traditions and folklore. Her configuration of a sensuous, almost dreamlike version of the feminine form and, the divine feminine, has granted her critical acclaim. The artist’s meteoric rise can be exemplified by her solo presentation with Victoria Miro Gallery at Frieze Los Angeles this year, following quickly after her major survey debut at the Norton Museum of Art, West Palm Beach in 2021.

\n\n

Indeed, it’s hard not to liken Berrío's work to that of Mexico’s Frida Kahlo, whose self-portraits shared a similarly folksy, surrealist story of the artist’s life as a Latin American woman in post-colonial spaces.

\n\n

With The Lovers 2, Berrío treats us to a portrait of an otherworldly female protagonist, with a delicate, pale complexion shaded with an equally delicate jewelled veil. She holds a flamingo in one hand, confident yet composed, and in gentle contrast to her backdrop of crimson flowers.

\n\n

The artist's process is painstaking yet thoughtful, as she builds layer after layer using rare decorative papers sourced from Japan, Thailand and Nepal, before adding watercolors.

\n\n

Derek Fordjour

\n\n

The American multidisciplinary artist, whose work at Frieze was bought by Beyoncé and Jay Z, often depicts Black figures performing cultural rituals or rites of passage in his work. Fordjour uses cardboard tiles, newspapers (including the salmon pink of The Financial Times), and finally acrylics and vine charcoal to develop his mixed media composition.

\n\n

\n\n

Derek Fordjour, Single Pivot Turn, 2018
\nacrylic, charcoal and oil pastel on newspaper mounted on canvas
\nLot 2, Estimate HK$ 2,000,000 - 3,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

\n\n

Single Pivot Turn focuses on a single figure, donning a costume reminiscent of Zaouli dancers in the Ivory Coast, caught in a passionate moment of cultural choreography. The juxtaposition of anonymity and prestige is found in the use of imperial purple; the exuberant pose, all at once tempered by a masked face. The pairing aligns with a larger question Fordjour poses in his work: what is Black success in White America?

\n\n

Yayoi Kusama

\n\n

\n\n

Yayoi Kusama, Heart, 1999
\nmixed media
\nLot 213, Estimate HK$ 1,000,000 - 2,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November
\n

\n\n

As a means for Kusama to face her fears of sexual intimacy, the artist often obsessively sewed hundreds of soft phallic protrusions. They can be seen in large-scale installations, like Phalli's Field, and more intimate creations, like a heeled shoe or a box sculpture.

\n\n

Endearingly, the box sculpture Heart draws a link to the box artworks of fellow artist Joseph Cornell, with whom Kusama shared a platonic relationship until his death in 1972.

\n\n

Created the year after Kusama’s major landmark retrospective Love Forever: Yayoi Kusama, 1958-1969, the sculpture features organic forms, candy-cane colored phalluses that protrude desperately from the tightly-packed box frame. The name Heart, evoking the body's vital organ, also lends to the rhythmic, pulsating effect that these striped tentacles seem to emit.

\n\n

The artist’s largest retrospective in Asia, Yayoi Kusma: 1945 to Now, is currently on view at the M+ Museum in Hong Kong until 14 May 2023.

\n\n

Chiharu Shiota

\n\n

\n\n

Chiharu Shiota, State of Being (Boy’s Kimono), 2013
\nmetal, black thread and kimono
\nLot 16, Estimate HK$1,500,000 - 2,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

\n\n

Shiota explores the connection and experience that an item might share with its former wearer. Clothing and thread is used by the Japanese artist as a spiritual conduit, communicating the complexity of life and loss through vacant spaces.

\n\n

In State of Being (Boy’s Kimono), the absence of the boy -- the owner of this kimono, as it appears in the title -- is amplified by Shiota's suspension of the clothing item within the metal frame. The artist painstakingly and meditatively weaves black thread around this central object, conveying the multitude memories once associated with the garment.

\n\n

\n\n

Chiharu Shiota, Skin, 2015
\nthread of canvas
\nLot 215, Estimate HK$ 250,000 - 350,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

\n\n

\nSkin, an intricately composed piece from 2015, faithfully reproduces the texture of skin through the intertwinement of black thread on a white tondo canvas. The intersection of threads forms shapes that are never identical, exactly like in the irregular lines that expand across human skin and are visible upon close inspection of the epidermis, as well as the intricacy of veins which provide life to all living beings on earth.

\n\n

Loie Hollowell

\n\n

\n\n

Loie Hollowell, Split Orbs in gray-brown, yellow, purple and carmine, 2021
\noil, acrylic and high-density foam on linen mounted on panel
\nLot 7, Estimate HK$ 4,000,000 - 6,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

\n\n

Childbirth is painful. The visceral intensity of that pain, however, is not always reflected to viewers as acutely as it feels. This is the basis of Hollowell’s Split Orbs collection, which fluctuate in tone, shade and saturation to mimic the shifts of consciousness that appear during labor.

\n\n

The use of mixed media is not at first obvious in Split Orbs, and the illusion lends to its wider message about the perception of pain during childbirth. Hollowell constructs the concave forms with linen covered panels and high-density foam, then seals and smooths the protrusion on canvas with a shell of acrylic and then oils. The depth is almost indiscernible to the naked eye.

\n\n

20th Century & Contemporary Art & Design Day Sale in association with Yongle

\n\n

Hong Kong 30 November 2022

\n\n

20th Century & Contemporary Art Evening Sale in association with Yongle

\n\n

Hong Kong 1 December 2022

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\n","publishDate","2022-11-25T08:47:18.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY","articleUrl","https://www.phillips.com/article/109421456/beyond-the-surface-6-masters-of-mixed-media","auctionEditorialID",1712,"editorialID",4058,"flocklerID",109421456,{"_1498":1522,"_1500":231,"_1501":1523,"_519":1524,"_1504":1525,"_1506":1526,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1527,"_467":229,"_1515":1528,"_1517":1529,"_1519":1530},"https://flockler.com/thumbs/sites/889/171534_lmf_uc710554-e9480db6-f475-41b8-b61f-32f83db04d9e_s600x0.jpg","我們超越表面，探索六位開創性藝術家如何突破界限，統一藝術形式，以互動和沉浸式創作與觀者進行交流。","影像背後：六位擅用綜合媒材的大師","

鹽田千春《生存的狀態（男孩的和服）》2013年作
\n金屬黑線和服
\n拍品16，估價1,500,000 - 2,500,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

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\n富藝斯香港將在二十世紀及當代藝術和設計秋季拍賣展示擅用綜合媒材的大師傑作，包括達明安·赫斯特（Damien Hirst）、草間彌生和鹽田千春等。以下將會探索六位開創性藝術家如何突破界限，統一藝術形式，以互動和沉浸式創作與觀者進行交流。

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達明安·赫斯特（Damien Hirst）

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達明安·赫斯特《寬恕》2008年作
\n蝴蝶家用亮光漆畫布
\n拍品10，估價6,000,000 - 9,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

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「你必須找到通用的觸發器，每個人都害怕玻璃，每個人都害怕鯊魚，每個人都喜歡蝴蝶。」- 達明安·赫斯特

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赫斯特於2003年成為英國最大蝴蝶進口商，而蝴蝶一直是其作品中一個集中表現其創造力的標誌性手段，盡在2008年作品《寬恕》中呈現。拍品構圖猶如萬花筒，把這位英國藝術家的特色共冶一爐。

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《寬恕》來自赫斯特2001年的《萬花筒》系列，其圓形畫布中層層輻射的同心圓由成千上萬隻蝴蝶翅膀製成。作品讓人想起歐洲大教堂彩色玻璃窗的哥特式雕花，傳遞一種精神性和崇敬之感，莊嚴深切地承認死亡和人類的暫時存在，寓意有朝一日我們或會超越肉身界線，在更為多彩多姿的綜合媒材的畫布中復活。

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達明安·赫斯特《風雨過後》2007年作
\n蝴蝶，家用亮光漆，畫布
\n拍品237，估價3,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日

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\n《風雨過後》也有類似《寬恕》對於生命，以至生命韌性的反思，同樣通過蝴蝶標誌所示。每隻蝴蝶天生獨一無二的圖案就像是每個人的個性和他們在世界上的位置一樣絕無僅有，由翠綠色調突出箇中獨特性。拍品用色鮮明，而畫中蝴蝶分散稀疏，暗示著風雨過後仍能保持清醒。

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瑪莉亞·貝利奧（María Berrío）

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瑪莉亞·貝利奧《戀人 2》2015年作
\n水彩施華洛世奇水鑽日本米紙拼貼畫布
\n拍品3，估價4,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日
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哥倫比亞藝術家瑪麗亞·貝里奧來自拉丁藝術家的新世代浪潮。她的作品高度複雜，並且跟隨中南美洲祖先的傳統，將魔幻現實主義和民間傳說融入她的畫布中。她對女性形態和神聖女性的夢幻感性之詮釋令她備受推崇。繼2021年在西棕櫚灘諾頓藝術博物館的大型展覽首次亮相後，貝里奧於今年在洛杉磯弗里茲藝博會的 Victoria Miro 畫廊展位舉辦了個展，藉此證明了這位藝術家的迅速崛起並獲得了評論界的一致好評。

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拍品構圖跟墨西哥著名藝術家芙烈達·卡蘿（Frida Kahlo）相似，而卡蘿也在自畫像中分享後殖民地時期的拉丁女性生活，同樣是平易近人的超現實主義故事。

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《戀人 2》呈現了一位超凡脫俗的女性肖像，她帶著珠寶面紗，與她那蒼白肌膚相配。主人公一手撫摸著火烈鳥，充滿自信卻又略帶沉靜，與深紅色花朵的背景相映成趣。

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貝里奧的藝術創作過程是對拼貼工藝的一種細緻而美麗的奉獻；她採用來自泰國、日本和尼泊爾的稀有裝飾紙張，製作出精緻的飾面，然後在其上塗上水彩。

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德里克·福德約（Derek Fordjour）

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德里克·福德約是一位美國跨領域藝術家，他的作品主要捕捉非裔人士參與各種文化儀式的剪影，更被Jay-Z和碧昂絲於斐列茲藝博會買下。福德約創作時將硬紙板黏上畫布，然後用報紙（包括《金融時報》鮭魚粉色紙張）包裹，後用木炭和壓克力顏料為綜合媒材的畫布填色。

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德里克·福德約 《單人平轉》2018年作
\n壓克力炭筆油性粉彩報紙裱於畫布
\n拍品2，估價2,000,000 - 3,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

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《單人平轉》畫面中單一人物主宰整個構圖，而其表演更與象牙海岸的 Zaouli 舞者非常相似，正在狂野地舞蹈著。這位舞者身著顯眼的紫紅色服裝，但卻隱藏其真面目，讓畫面構成隱匿與高調之間的平衡。如此並列符合福德約在他的作品中提出的深層次問題：黑人在白人相對多數的美國取得甚麼成就？
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草間彌生

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草間彌生 《心》1999年作
\n綜合媒材
\n拍品213，估價1,000,000 - 2,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日

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為了治癒對於性的厭惡感，藝術家痴迷地手縫過百枕頭狀的陽具形態，常見於例如《陽具領域》的大型裝置，以及如高跟鞋或盒子雕塑等更為私密的創作。

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拍品與藝術家的長期朋友約瑟夫．康奈（Joseph Cornell）著名的盒子藝術作品有所關聯，兩者關係一直持續至康奈於1972年逝世。

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《心》創作於草間彌生里程碑式回顧展〈永遠的愛：草間彌生，1958-1969〉的第二年，其中每條有機的形狀，也是糖果色的陽具，都在它們緊縮的盒子框架內爭奪生存。拍品標題《心》令人喚起人類最重要的器官，在鮮紅的色調下顯得更加有力，栩栩如生的帶著生命力般跳動。

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藝術家在亞洲最大的回顧展「草間彌生：1945年到現在」目前正在香港的M+博物館展出，展期至2023年5月14日。

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鹽田千春

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鹽田千春 《生存的狀態（男孩的和服）》2013年作
\n金屬黑線和服
\n拍品16，估價1,500,000 - 2,500,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

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鹽田擅於探索物品的舊主人所留下的關聯和痕跡。這位日本藝術家與繩子有著深刻的心理連結，利用編織物和服裝作為表達的渠道，通過空置的空間傳達人生的雜性和得失。

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在《生存的狀態（男孩的和服）》中，鹽田將一件物品懸置於金屬框架之內，而衣服下空蕩的空間轉而更加強調了前主人（拍品標題所指的男孩）的印記。藝術家用黑線不斷纏繞這件中心物件，過程猶如坐禪、冥想一般，以紀念和保存物品所蘊含的故事

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鹽田千春 《肌膚》2015年作
\n線畫布
\n拍品215，估價250,000 - 350,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日
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《肌膚》是一件於 2015 年創作的錯綜複雜的作品，通過黑色線在白色 Tondo 帆布上的交織，真實地再現了皮膚的紋理。線的交匯所形成的形狀永遠不相同，就像在細看時可以看到的人類皮膚上擴展的不規則線條一樣，也如同為地球上所有生物提供生命的靜脈之複雜交錯一般。

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洛伊·霍洛韋爾（Loie Hollowell）

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洛伊·霍洛韋爾《分裂的球體：灰棕、黃色、紫色、胭脂紅》2021年作
\n油彩壓克力高密度泡沫麻布裱於木板
\n拍品7，估價4,000,000 - 6,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

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分娩過程疼痛非常。然而，這種痛苦的強度未必能像當下感覺一樣如實地反映給觀者，而這正是霍洛韋爾《分裂的球體》系列的基礎，以色彩、明暗、飽和度模仿這痛苦過程的意識變化。

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乍看之下，畫布上的綜合媒材並不明顯，也可延伸至普羅大眾低估分娩痛楚的錯覺。霍洛韋爾用高密度泡沫在亞麻布板上構建了凹凸形態，然後覆以一層薄壓克力、最後上油漆，製成完美的光滑表面。最後的成果幾乎形成一種視覺錯效，裸眼之下難以將前景和背景區分開來。

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富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日
\n香港

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富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日
\n香港

\n","2022-11-26T08:24:13.000000Z","https://www.phillips.com/article/109492774/beyond-the-surface-6-masters-of-mixed-media-cn",1715,4060,109492774,{"_1498":1532,"_1500":231,"_1501":1533,"_519":1534,"_1504":1535,"_1506":1536,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1537,"_467":385,"_1515":1538,"_1517":1539,"_1519":1540},"https://flockler.com/thumbs/sites/889/165474_atd_uc706713-c5fd61a5-e0a1-4797-a5f9-6c9178e221c1_s600x0.jpg","Beyond the streets: A burst of eye-popping street art and murals are part of Phillips Fall Auctions 2022, featuring artists who have taken center stage in the world of street art.","Bringing the Beauty of the Urban Canvas Home","

José Parlá, Chinatown Chronicle, 2008
\nLot 151, Estimate HK$ 450,000 - 650,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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中文閱讀

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From the anonymity of Banksy to the popularity of KAWS, street art finds its way home, eventually.

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Always in motion even when be held still, the humble propulsive aerosol charges and ruptures the streets, leaving ecstatic torrents of fleeting colour and mind-defying illusions, breathing a breath of new life into neighbourhoods.

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Today, burgeoning urban art bends notions of movement, cultural identity, and cohesion.

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José Parlá

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José Parlá is publicly known for his permanent installation of large-scale paintings; whose works has been described as “lying between the boundary of abstraction and calligraphy”. With influences drawing from his Cuban-American heritage, involvement with Hip Hop’s underground art culture and his city surroundings, Parlá has established a style of painting that transforms the language of the street into a hybrid form of abstraction and urban realism through his calligraphic, gestural marks.

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In 2012, he collaborated with photographer JR in the project ‘The Wrinkles of the City, Havana’. In his works, José Parlá brings the city into the gallery, his markings echoes the distressed surfaces of the walls he inscribes and offer commentary on JR’s portraits of the lives of Cuba’s elders. Parlá recent exhibition includes Brooklyn Abstraction: Four Artists, Four Walls, Brooklyn Museum (August 2022), where five of his newly created painting raw upon his youth as a Cuban American in Miami in the 1980s, his world travels, his almost fatal battle with COVID-19 in 2021, and his survival and recovery, will be on view through August 2023.

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The Wrinkles of the City. LA Habana. Alicia Adela Hernandez Fernandez, Cuna, 2012 (via JR-ART.net)

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Similarly, and like many of his paintings that are associated with specific places, Chinatown Chronicle, 2008 is inspired by New York’s Chinatown, as he expresses the visible effects of time and human activity around places, offering a direct encounter without the mediations of transit that normally condition people’s engagement with city walls.

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Swathed with accumulations of texture, multiple marks, and painterly incidents, it is a piece that beckons with its rich layers of colour, influenced by José’s teenage memories of tagging and graffiti.

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Futura

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Futura, Patrick, 2019
\nLot 152, Estimate HK$ 500,000 - 700,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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Dubbed the Godfather of contemporary graffiti, and one of its most recognizable figures, Futura is the genesis of a completely American form of expressionism, and has been widely praised for playing a part in defining the graffiti movement of the early 1970s by extending abstraction to an entirely letter-based medium.

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Futura, The Wynwood Wall Project, Art Basel Miami Beach (via Wikiart)

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Patrick, 2019, an exuberant collision of atoms, starts, fields of colour, and circles, is full of vim and vigour whilst still retaining a sense of balance, intermixing in a highly retro-futuristic style.

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Timothy Curtis

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Timothy Curtis, From Space With A Crazy Face III, 2019
\nLot 154, Estimate HK$ 240,000 - 350,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November
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“If my work is completely understood, then I’m doing something wrong”, pronounces Timothy Curtis. “I draw every day and I am different on every day. And so, my work evolves as I do.”

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Curtis’s career began on the streets of Philadelphia in 1991, at age 9. Graffiti was his natural outlet, where he catalogued every moment, idea, and feeling as if in a visual journal.

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Timothy Curtis, Untitled, 2016, Coney Art Walls, Coney Island (via Coney Art Walls)

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On From Space With A Crazy Face III, 2019, emotive scarlet faces veil the royal blue canvas. Placing an emphasis on the intensity, strength, and intuition of bold lines, the sheer span of expression and profusion of figures serve as ways to define the human experience.

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Invader

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Invader, HK_31, 2015
\nLot 150, Estimate HK$ 500,000 - 700,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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French urban artist Invader has garnered international recognition for his pixelated ceramic mosaics found all over city walls spanning the globe.

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Working under a pseudonym inspired by the widely popular 1978 Space Invader arcade game, the artist attributes the Space Invader titular aliens, as depicted in Invader, HK_31, as being “the perfect icons of our time, a time where digital technologies are the heartbeat of our world”.

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Composed of red and gold, the symbolically auspicious colours in Chinese culture, the piece is brimming with nostalgia for bygone digital world. The work was first installed on Gloucester Road by Victoria Park in Hong Kong in January 2014.

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Invader, HK_63, 2014, Hong Kong (via Invader)

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Composed of green and brown tiles outlined in black, MLGA-03 shows a pixelated potted marijuana plant. This work was first installed at Calle Bolivia in Malaga, Spain, outside of a natural herb supplements dietary store.

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Invader, MLGA-03, 2017
\nLot 110, Estimate HK$ 700,000 - 900,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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KAWS

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KAWS, Hot Seat Junction, 2010
\nLot 23, Estimate HK$ 7,000,000 - 10,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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A master in toppling traditional ideas of fine art, KAWS creates works synonymous with contemporary street art culture, as he positions his works as both a celebration and critique of consumerism.

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Painted in 2010, Hot Seat Junction features a cropped and chopped SpongeBob SquarePants, endowed with his signature X’d-out eyes. Presented with a gasping mouth and surprised face, spliced together with dissected zoom-ins of his pupils and clenched jaw, our SpongeBob is charged with raw emotion.

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KAWS, COMPANION, 2010
\nLot 24, Estimate HK$ 6,000,000 - 10,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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“When I was doing graffiti, my whole thought was, I just want to exist.” — KAWS

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Magnificently grand in its execution, the prodigious COMPANION is undoubtedly one of the most prized symbols that define the multidisciplinary oeuvre of the art world icon, KAWS. The large ‘X’ eyes and skulled head might appear to be intimidating at first, yet its rounded silhouette, smooth surface, along with shorts and shoes all evoke the likings of beloved cartoon characters, giving the work an overwhelmingly endearing quality. This is in turn enhanced by its larger than life scale, transporting the viewer into a toy-like wonderland.

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Banksy

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Banksy, Kids on Guns, 2003
\nLot 26, Estimate HK$ 8,500,000 - 12,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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Hailed as the most controversial street artist in the contemporary art scene, Banksy is an international sensation who continues to catapult the art historical cannon in new directions, whilst still maintaining his anonymity.

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With its striking simplicity and raw immediacy, Kids on Guns is a stark example of the artist’s famed stencil and spray paint approach that originated from his time as a graffiti artist on the streets of Bristol. This technique allowed him to work quickly and make hasty escapes.

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Known for his anti-war imagery, the shining red balloon – an iconic motif that is almost synonymous with Banksy himself— is an advocate for hope amongst fear in sombre solidarity, as a girl and boy are seen standing atop a mountain of weapons, in sharp juxtaposition.

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In 2022, Banksy unveiled several works in the Ukrainian town of Borodyanka, which had been heavily damaged by fighting in the early days of the war. The artworks were stenciled on the walls of buildings destroyed by shelling.

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Banksy, Borodyanka, Ukraine, 2022 (via Banksy Instagram, @banksy)

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A biting example of Banksy’s satirical oeuvre, Girl with Balloon & Morons Sepia is a double-sided composition boasting two of the artist’s most famous images: Girl with Balloon and Morons. When held up to the light, Girl with Balloon and Morons Sepia magically fuse into a single composition, transporting the young girl into the auction room, and creating a mirror effect between her extended arm and that of the auctioneer – a feat that distinguishes it from Banksy’s other editions of Girl with Balloon and Morons, highlighting a sense of irony unique to the anonymous artist himself.

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Banksy, Girl with Balloon & Morons Sepia, 2007
\nLot 25, Estimate HK$ 4,500,000 - 6,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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20th Century & Contemporary Art & Design Day Sale in association with Yongle

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Hong Kong 30 November 2022

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20th Century & Contemporary Art Evening Sale in association with Yongle

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Hong Kong 1 December 2022

\n","2022-11-22T16:30:06.000000Z","https://www.phillips.com/article/109242662/bringing-the-beauty-of-the-urban-canvas-home",1705,4053,109242662,{"_1498":1542,"_1500":231,"_1501":1543,"_519":1544,"_1504":1545,"_1506":1546,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1547,"_467":98,"_1515":1548,"_1517":1549,"_1519":1550},"https://flockler.com/thumbs/sites/889/165474_atd_uc706713-dfa66595-46db-420c-931e-c7874547ea14_s600x0.jpg","超越街頭：2022年香港秋季拍賣蒐羅一系列耀眼的街頭藝術和壁畫拍品，當中不少藝術家在街頭界別備受矚目。","超越街頭 - 把城市風景帶回家","

何賽·帕拉《唐人街之史》，2008年作
\n拍品 151，估價 450,000 - 650,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
\n

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從班克斯（Banksy）的隱藏身分到KAWS的廣泛流行，街頭藝術見於大街小巷，而我們樂見作品落葉歸根，踏上歸家之路。

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這些作品即使不動如山，它們仍在不斷運行的狀態，毫不費力地衝破街道的能量，留下一閃而過的狂喜，使人興奮不已，為社區注入創新活力。

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時至今天，蓬勃發展的街頭藝術改變了社會運動、文化認同和凝聚力的概念。

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何賽·帕拉（José Parlá）

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何塞·帕拉以大型繪畫的永久裝置聞名，其作被形容為「介於抽象與書法之間」。受到古巴裔美國人的背景影響，積極參與嘻哈、地下藝術文化和城市環境的帕拉建立了一種特殊的繪畫風格：通過書法式筆觸，他將街道語言轉化為混合抽象和城市現實主義的形態。

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2012年，他與攝影師JR合作，參與名為《夏灣拿：城市的皺紋》的項目。帕拉在他的作品中將該市變成畫廊，其標記與他所題寫的破舊牆壁表面互相呼應，並且評論了JR對古巴長者生活的刻劃。藝術家近期展覽包括《布魯克林抽象：四位藝術家，四面牆》（布魯克林美術館，2022年8月），當中展示五幅新作，描繪了他在邁阿密於1980年代作為古巴裔美國青年的經歷、四處遊歷、幾乎致命的新冠疫情、康復過程、病後生活等，該展覽一直舉行至2023年8月。

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展覽《夏灣拿：城市的皺紋》Alicia Adela Hernandez攝於2012年古巴費南德斯 (via JR-ART.net)

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就如其他與特定地點相關的不少畫作一樣，2008年作品《唐人街之史》的靈感來自紐約的唐人街，其中藝術家表達了時間和人類活動在特定地點的可見影響，提供一種直接的交流，而非通過造成城牆與大眾日常接觸的中介。

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拍品充滿紋理，積累了多重標記和繪畫筆觸，當中豐富的色彩層次受到帕拉少年時代對於標記和塗鴉的影響，使其更為引人入勝。

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Futura

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Futura《Patrick》，2019年作
\n拍品 152，估價 500,000 - 700,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

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Futura被譽為當代塗鴉藝術之父，開創一種完全美國化的表現主義，在1970年代重新定義了塗鴉運動，在本是以文字為主的媒介加入抽象元素。

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Futura《溫活牆項目》邁阿密海灘巴塞爾藝術展(via Wikiart)

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2019年作品《Patrick》佈滿原子、起點、色域和圓圈的旺盛碰撞；儘管畫面活力十足，亦在復古未來主義風格中取得平衡。

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蒂莫西·柯蒂斯（Timothy Curtis）

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蒂莫西·柯蒂斯《來自太空的瘋狂臉孔III》，2019年作
\n拍品 154，估價 240,000 - 350,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
\n

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「如果我的作品能完全被理解，那肯定是我做錯了什麼。」柯蒂斯說。「我每天都在畫畫，我每天有不一樣的心情。因此，我的作品隨著我個人的演變而演變。」

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柯蒂斯的職業生涯始於1991年，當年9歲的他在費城街頭創作。塗鴉是這位藝術家的情緒出口，他將每個時刻、想法和感覺都記錄其中，猶如他的視覺日記。

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蒂莫西·柯蒂斯2016年作品《無題》位於康尼島康尼藝術牆。 (via Coney Art Walls)

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2019年作品《來自太空的瘋狂臉孔III》以充滿情感的猩紅色面孔遮蓋寶藍色畫布。拍品強調粗線條的銳度、強度和直覺，畫中的純粹表達和豐富人物表情充當了人類體驗的定義方式。

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Invader

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Invader《HK_31 》，2015年作
\n拍品 150，估價 500,000 - 700,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
\n

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法國街頭藝術家Invader因其遍佈全球城牆的像素化陶瓷馬賽克而廣獲世界關注。

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受到大受歡迎的1978年街機遊戲《太空侵略者》（Space Invader）啟發，藝術家因而得名，並以當中的外星人（如《HK_31 》中所示）為創作主題，形容它為「這個時代的完美偶像，而這是一個數碼技術主宰我們心跳的時代」。

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拍品由中國文化中象徵吉祥的紅色和金色組成，滿懷對於舊有數碼世界的思念，於2014年1月首次安裝於香港維多利亞公園旁的告士打道。

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Invader 2014年作品《HK_63》攝於香港。 (via Invader)

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《MLGA-03》由配襯深色框線的綠色和棕色瓷磚組成，展示像素化的大麻植物盆栽。這件作品首先安裝於西班牙馬拉加市玻利維亞街，位處一家天然草本膳食商店外。

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Invader《MLGA-03》，2017年作
\n拍品 110，估價 700,000 - 900,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
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KAWS

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KAWS《重任將至》，2010年作
\n拍品 23，估價7,000,000 - 10,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

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作為顛覆傳統藝術觀念的大師，KAWS將自己的作品立意定位為對消費主義兼具褒揚與批判，也是當代街頭藝術文化的代名詞。

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2010年作品《重任將至》中，KAWS將卡通角色海綿寶寶剪裁並重新拼合，並加上他標誌性的交叉眼。畫中的海綿寶寶一臉驚訝，倒吸著一口冷氣，加上分解圖片後放大的瞳孔與緊咬的下巴，此作品嶄露著直接、原始的情緒。

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KAWS《同伴》，2010年作
\n拍品 24，估價 6,000,000 - 10,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

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「當我創作塗鴉的時候，我的所有想法都是，『我只想存在。』」— KAWS

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《同伴》尺寸龐大，也是藝術家跨界創作的有力典範。主人公的「X」形大眼睛和頭顱背後交叉的骷髏骨乍一看也許令人生畏；但人物圓潤的輪廓、光滑的表面以及身上的短褲和鞋子都散發著招人喜愛的卡通人物風格，賦予作品一種不由分說的可愛氣質。作品的巨大尺寸更增強了這種可愛氣質，將觀眾帶入一個玩具天堂。

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班克斯（Banksy）

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班克斯《槍枝上的孩子們》，2003年作
\n拍品 26，估價8,500,000 - 12,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

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班克斯毫無疑問是當代藝術界最具爭議的街頭藝術家之一，他在坐享全球關注的同時仍然保持著匿名身分，繼續將藝術推向嶄新前緣。

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《槍枝上的孩子們》以其高度簡約和不修邊幅的即時性展示了藝術家著名的、自布里斯托街頭創作時期便開始使用的模板塗鴉和噴漆方法。這種技術使他能夠快速工作並迅疾逃脫。

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班克斯的反戰形象鮮明，而畫中孩子手持耀眼的紅色氣球，站在暴戾的小山峰上——這一著名意象幾乎是班克斯本人的代名詞。二人在憂愁中彼此團結，在恐懼中高舉希望，

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2022年，班克斯在烏克蘭小鎮博羅江卡展示數件作品，而該鎮在戰爭初期曾因戰火嚴重受損，這些藝術品則置於被砲擊摧毀的建築物牆壁上。

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班克斯2022年作品，攝於烏克蘭博羅江卡。 (via Banksy Instagram, @banksy)

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《氣球女孩 & 傻瓜們（棕色）》是班克斯所創作的諷刺作品中一個尖銳的例子，這是一幅有著藝術家最著名的兩幅圖像的雙面作品。將作品放置燈光下時，《氣球女孩》與《傻瓜們（棕色）》兩幅作品便會神奇地融合成單一構圖，將年輕女孩置身拍賣室，她所伸出的手臂和拍賣師舉起的手臂也產生鏡面效果。此舉使這幅作品有別於其他版本的《氣球女孩》和《傻瓜們（棕色）》，突出了這位匿名藝術家本人獨有的諷刺感。

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班克斯《氣球女孩 & 傻瓜們（棕色）》，2007年作
\n拍品 25，估價 4,500,000 - 6,500,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
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富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣

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11月30日

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香港

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富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣

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12月1日

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香港

\n","2022-11-23T14:39:43.000000Z","https://www.phillips.com/article/109309413/bringing-the-beauty-of-the-urban-canvas-home-cn",1708,4056,109309413,{"_1498":1552,"_1500":231,"_1501":1553,"_519":1554,"_1504":1555,"_1506":1556,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1557,"_467":188,"_1515":1558,"_1517":1559,"_1519":1560},"https://flockler.com/thumbs/sites/889/galeriemariabernheim-michaela-yearwood-dan-what-s-the-use-in-7a9f7687-fe34-4534-b03e-dd2ddada591c_s600x0.jpg","Phillips returns this season with a roster of up-and-coming female artists, featured in the Fall Auctions of the 20th Century & Contemporary Art and Design Sales.","Female artists to watch: What’s next in the frame?","

Michaela Yearwood-Dan, What’s the Use in Yearning, 2021
\nLot 1, Estimate HK$ 250,000 - 350,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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中文閱讀

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Phillips Hong Kong has many a time rung in robust world auction records for contemporary female artists, with the likes of Lucy Bull, Emily Mae Smith, Jadé Fadojutimi, Loie Hollowell, Ayako Rokkaku, Genieve Figgis, and more.

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In the Fall Auctions this November, Phillips extends an invitation to explore the complexity and interconnectedness of discourses raised by women in the arena, all of whom are set to create defining moments in the art scene.

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Caroline Walker, The Masquerade, 2012
\nLot 27, Estimate HK$ 1,000,000 - 1,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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Caroline Walker

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Known for her compelling canvases of women, specifically of subjects in both public and domestic spheres, Caroline Walker captures women’s everyday bodily movements with momentary exactness in her art. Her creations begin as photographic snaps, often taken covertly, and are later worked up into big, luminous oil paintings.

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“I’m interested in challenging the position of the viewer, particularly in relation to my female subjects,” Caroline says as she reflects on her work process, “And the paintings are very large, so there’s a sense that you could almost step into the scene.”

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Characteristic of Caroline’s compositions, The Masquerade unfolds before its audience with a sultry cinematic flare, so graceful yet mildly arresting, that underpins Caroline Walker’s unique visual language. Painted in 2012 and exhibited in the artist’s first public solo exhibition in “In Every Dream Home” in London, the painting encapsulates the metaphor of a “doll encased behind glass”, seeking to explore the intersections between role-playing, gender conformity, domesticity, and class.

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Caroline Walker, Cleaned, 2017
\nLot 102, Estimate HK$ 300,000 - 400,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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Her paintings often provide both an intimate and voyeuristic vantage point of women’s lifestyles, executed with a sense of cinematic touch. In Cleaned, an ambiguous space that could be interpreted as a house, studio, or more likely –– an office is peaked into. With a setting drawing similarity to polished skyscraper buildings in the metropolitan, themes of class and upward mobility, overlaid with routine and dignity are explored.

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Anastasia Bay

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Anastasia Bay, Boxer, 2020
\nLot 101, Estimate HK$ 100,000 - 150,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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Anastasia Bay draws from her art historical, mythological, and cultural sources to produce contemporary depictions of figurative archetypes. Human figures are depicted in a way that reminds of Minoan frescos and Egyptian ceremonial images, of which their identities are revealed by poses and postures, instead of by clothing or other signifying features.

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Boxer marks Anastasia’s debut in the international art auction market. The boxer is a repeated subject throughout her work, complemented with secure brushstrokes and rough drawing marks applied over colour field backgrounds. Alike her other large-scale paintings, the characters’ bodies spill out beyond the canvases.

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Michaela Yearwood-Dan

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Michaela Yearwood-Dan, What’s the Use in Yearning, 2021
\nLot 1, Estimate HK$ 250,000 - 350,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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Marked by vibrant, emotive, whirling forms of colour, young British artist Michaela Yearwood-Dan’s paintings and sculptures move between the deeply personal and the political, prompted by her reflections on race, class, gender, and environmentalism.

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Michaela has been celebrated with several solo exhibitions between New York and London, and the presentation of What's the Use in Yearning in Phillip’s upcoming Fall Sale marks her auction debut in Asia. A work of high intensity, combining text and gestural mark-making in exuberant and expressive passages of vibrant colour, incorporates botanical motifs and forms in the creation of lush, all-over environments that are as contemplative as they are visually compelling.

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\nEwa Juszkiewicz

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Ewa Juszkiewicz, Untitled, 2017
\nLot 103, Estimate HK$ 3,000,000 - 4,000,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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Ewa Juszkiewicz, Untitled (after Jean-Antoine Watteau), 2016
\nLot 140, Estimate HK$ 80,000 - 120,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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The Polish painter’s portraits of women are unsettling, grotesque, yet transformative. Ewa seeks to dismantle the female image throughout art history and challenge misogynist notions of female identity ownership, by overthrowing the typical objects of beauty, perfection and deference especially as seen in Renaissance female portraiture.

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Focused on reinterpreting famous historical paintings depicting women, as seen in Untitled (after Jean-Antoine Watteau), she covers women’s faces with mysterious masks composed of symbolic features such as foliage, fabrics, or locks of hair, shielding the face from view. As a result, surrealistic and disturbing paintings, loosely based on the originals, are created.

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Amongst the dense layering of leaves that cover the subject’s face in Untitled, one might notice that a few are starting to wither and brown.

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Hulda Guzman

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Hulda Guzmán, And Then I Looked Up, 2018
\nLot 135, Estimate HK$ 100,000 - 150,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

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Living and working in Samaná, on the northeast coast of the Dominican Republic, Guzmán’s joyful, narrative-focused artworks present a fantastical realm where humankind is represented as an intrinsic part of the ecosystem of our natural world.

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She paints surrealist works that are connected to nature, and in their materiality — In And Then I Looked Up, the painting is executed on wood, with natural grains contributing to the overall image.

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Two figures dance freely atop dark, wooden pyramids in an otherwise sparse landscape set in perpetual twilight. The dancing pair can be interpreted as a metaphor for the “dance of nature”, as the artist explains, “We’ve all witnessed the wind dancing between the trees, and heard its subtle, surrendered sound, smelled its natural, healing aroma, and felt its power to anchor us. We know there's something underneath what we perceive through our sense, an essence that encompasses all living creatures in a general symbiosis, which appears very much like a dance.”

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Loie Hollowell

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Loie Hollowell, Split Orbs in gray-brown, yellow, purple and carmine, 2021
\nLot 7, Estimate HK$ 4,000,000 - 6,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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Oscillating between abstraction and figuration, Loie Hollowell’s unique portraits of bodily landscapes are characterised by her use of brightly contrasting colours and voluptuous geometric forms.

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Her sculptural paintings are autobiographical — Split Orbs in gray-brown, yellow, purple and carmine is a part of a nine-canvas series that directly references the birth of her second child, illustrating a journey into the epicentre of the pain of labour.

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The orbs, bearing resemblance to planets, seem to pulsate with palpable rhythm as they expand and quiver under the blunt force of a sharp cut down the midline, presenting to viewers an almost psychedelic and transcendental viewing experience.

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Our 20th Century & Contemporary Art & Design Day Sale in association with Yongle and 20th Century & Contemporary Art Evening Sale in association with Yongle will take place on 30 November - 1 December at the JW Mariott Hotel in Hong Kong.

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20th Century & Contemporary Art & Design Day Sale in association with Yongle

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Hong Kong 30 November 2022

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20th Century & Contemporary Art Evening Sale in association with Yongle

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Hong Kong 1 December 2022

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\n","2022-11-07T06:27:31.000000Z","https://www.phillips.com/article/108033929/female-artist-to-watch-fall22",1696,4023,108033929,{"_1498":1562,"_1500":231,"_1501":1563,"_519":1564,"_1504":1565,"_1506":1566,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1567,"_467":72,"_1515":1568,"_1517":1569,"_1519":1570},"https://flockler.com/thumbs/sites/889/galeriemariabernheim-michaela-yearwood-dan-what-s-the-use-in-75850e6e-91b3-43a1-962c-6119161d8cb5_s600x0.jpg","承接以往佳績，富藝斯將於本年秋季二十世紀及當代藝術和設計拍賣中，再度呈現嶄露頭角的女性藝術家。","女藝術家嶄露頭角：哪位最為備受關注？","

米凱拉·伊爾伍德—丹《渴望又有什麼用》，2021年作
\n拍品 1，估價250,000 - 350,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

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富藝斯香港多次創下女性當代藝術家的世界拍賣紀錄，包括露西．布爾（Lucy Bull）、艾米莉．梅．史密斯（Emily Mae Smith）、賈黛．法多朱蒂米（Jadé Fadojutimi）、洛伊．霍洛韋爾（Loie Hollowell）、六角彩子、珍尼維．菲吉斯（Genieve Figgis）等。

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在今年11月秋季拍賣中，富藝斯邀請觀者通過行內女性提出的話語，探討其複雜性和相互關聯，而這些女性勢將為藝術界奠定重要里程碑。

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卡羅琳·沃克《化裝舞會》，2012年作
\n拍品 27，估價 1,000,000 - 1,500,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

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卡露蓮．獲卡

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卡露蓮．獲卡（Caroline Walker）以其引人注目的女性繪畫見稱，尤其偏好突出公共場合和家庭領域的女性人物。在作品中，她以瞬間的精確性捕捉女性的日常生活。她的創作從街頭拍照開始（通常是偷拍形式），後來將其加工，成為龐大的光感油畫。

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卡羅琳在反思自己的工作過程時表示：「我有興趣挑戰觀眾的立場，尤其是女性主題相關的位置。由於這些畫作巨大，所以觀者有一種身在其中的現場感覺。」

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《化裝舞會》充滿撩人的電影感，也是藝術家的作品特色，如此優雅、溫和，而又引人入勝，為其獨特視覺語言建立穩固根基。這幅畫於2012年創作，在藝術家位處倫敦的首個公開個人展覽《在每個夢想之家》中展出，概括了「困於玻璃的玩偶」之隱喻，試圖探索角色扮演、性別整合、家庭生活、階級觀念之間的交叉點。

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卡羅琳·沃克 《清潔後》，2017年作
\n拍品 102，估價300,000 - 400,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

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她的畫作經常提供窺探女性生活的視點，親密隱秘，予以強烈電影感。《潔凈》展示了一個模棱兩可的空間，可以被解讀為房子、工作室，甚或是被人偷窺觀察的辦公室。畫中背景與大都市的鏡面摩天大樓建築相似，探索階級觀念、向上流動、生活日常和個人尊嚴的主題。

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安娜斯塔絲亞．貝

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安娜塔西亞·巴伊 《拳擊手》，2020年作
\n拍品 101，估價100,000 - 150,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

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安娜斯塔絲亞．貝（Anastasia Bay）從她的藝術歷史、神話傳記和文化資源中汲取靈感，創作對具象原型的當代描繪。她的人物形象描繪方式讓人想起米諾斯壁畫和埃及儀式圖像，並以姿勢和動作來揭示上述人物身份，而非通過衣服或其他標誌特徵。

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《拳手》代表了藝術家在國際藝術拍賣市場中的粉墨登場。在她的創作歷程中，拳手是一個重複的主題，輔以在色域背景上的肯定筆觸和粗略繪圖標記。和她的其他大型畫作一樣，人物的身體通常溢出畫布之外。

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米凱拉．伊爾活–丹

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\n\n

米凱拉·伊爾伍德—丹 《渴望又有什麼用》，2021年作
\n拍品 1，估價250,000 - 350,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

\n\n

受到她對種族、階級、性別和環保主義的反思所啟發，年輕英國藝術家米凱拉．伊爾活–丹（Michaela Yearwood-Dan）的繪畫和雕塑以活力十足且情緒化的旋轉色彩形態為個人標誌，遊走於個人和政治觀點之間。

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藝術家曾在紐約和倫敦舉辦多次個展，而在富藝斯即將舉行的秋季拍賣所展示之《嚮往有何用》標誌著她首次亮相亞洲拍賣市場。這部作品帶有強烈風格，在充滿活力和表現力的鮮豔色彩中結合文字和筆觸標記，融合植物圖案和形態，創造出鬱鬱蔥蔥的沉思環境。

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伊娃．朱絲姬烏斯

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伊娃·尤斯凱維奇 《無題》，2017年作
\n拍品 103，估價3,000,000 - 4,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

\n\n

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伊娃·尤斯凱維奇 《無題（讓-安托萬·華托之後）》，2016年作
\n拍品 140，估價80,000 - 120,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

\n\n

這位波蘭畫家的女性肖像畫作怪誕、令人不安卻富有變革性。藝術家試圖通過推翻美麗、完美和順從的傳統標準（尤其見於文藝復興時期女性肖像畫的典型人物），粉碎整個藝術史上的女性形象，挑戰女性身份擁有權的厭女觀念。

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藝術家專注於重新詮釋描繪女性的著名歷史畫作，正如《無題（追隨在尚-安托萬．華托之後）》中所見，她用由樹葉、織物或頭髮等特徵組成的神秘面具遮住畫中女性的臉孔，從觀者視野中隱蔽畫中人物臉部，而鬆散地根據原作創作的超現實主義繪畫應運而生，引起觀者不安。

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在《無題》覆蓋對象臉部的密麻樹葉層中，觀者可能會注意到一些樹葉開始枯萎和變為褐色。

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胡達．古絲曼

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胡爾達·古茲曼 《然後我抬頭一瞥》，2018年作
\n拍品 135，估價100,000 - 150,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

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胡達．古絲曼（Hulda Guzmán）在多米尼加共和國東北海岸的薩馬納生活和工作，其歡欣藝術作品以敘事為重點，呈現一個奇幻境界，當中人類被視為自然世界生態系統的內在組成部分。

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她的超現實主義作品與自然和它們的物質性有關。《然後我抬頭看》在木材上完成，自然木紋亦有助於整體作品構圖。

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兩個人物在暮色中於暗木金字塔頂上自由舞動，配上稀疏的景觀。這對舞者可被解讀為「自然之舞」的隱喻。藝術家解釋：「我們都曾目睹微風在樹間翩翩起舞，聽到它微妙而平靜的聲音，聞過它自然治癒的香氣，並感受到它錨定我們的力量。我們知道，人類五官的感知之下有一種本質，它包含了所有生物的普遍共生關係，當中呈現猶如舞蹈。」

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洛伊．霍洛韋爾

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洛伊·霍洛韋爾 《分裂的球體：灰棕、黃色、紫色、胭脂紅》，2021年作
\n拍品 7，估價4,000,000 - 6,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

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藝術家在抽象和具象之間遊走，其獨特景觀畫特點在於對比鮮明的色彩和妖嬈的幾何形態。

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她的構圖猶如雕塑，屬於自傳形式：《分裂球體：灰棕色、黃色、紫色和胭脂紅》（來自一個九幅畫布系列，該系列直接提到她次子的誕生，展示了分娩之痛苦過程。

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與行星相似的畫中球體似乎以明顯的節奏脈動，並隨著中線急劇切割的鈍力擴張和顫動，向觀眾呈現迷幻和超然的觀賞體驗。

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富藝斯與永樂聯合舉辦的二十世紀及當代藝術和設計日間拍賣，以及富藝斯與永樂聯合舉辦的二十世紀及當代藝術晚間拍賣將於11月30日至12月1日在香港萬豪酒店舉行。

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富藝斯與永樂聯合舉辦的二十世紀及當代藝術和設計日間拍賣

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Hong Kong 30 November 2022

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富藝斯與永樂聯合舉辦的二十世紀及當代藝術晚間拍賣

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Hong Kong 1 December 2022

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\n","2022-11-11T09:07:44.000000Z","https://www.phillips.com/article/108360889/female-artist-to-watch-fall22-cn",1697,4031,108360889,{"_1498":1572,"_1500":231,"_1501":1573,"_519":1574,"_1504":1575,"_1506":1576,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1577,"_467":699,"_1515":1578,"_1517":1579,"_1519":1580},"https://flockler.com/thumbs/sites/889/176668_spf_uc702223-bfebde61-d9cb-4eed-ac34-9ef934c353b9_s600x0.jpg","Seven things you need to know about Yayoi Kusama with the opening of the artist’s largest retrospective in Asia, Hong Kong.\n","Repetition and Accumulation: 7 things you need to know about Yayoi Kusama","

Yayoi Kusama, Red Shoe, 1979
\nLot 211, Estimate HK$3,000,000-5,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle, 30 November

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中文閱讀

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Born in 1929, Kusama’s upbringing was wrought with the conservatism and patriarchy of wartime Japan. After carving out her own unique space with solo exhibitions in the island country, Kusama flew to New York in 1958, during the height of the city's abstract expressionist art scene and a thriving pop art movement. After seven decades of honing her own brand of counterculture, minimalism, and feminism, Kusama is considered the most successful living female artist in the world.

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In hot anticipation of Phillips Hong Kong’s upcoming 20th Century & Contemporary Art and Design sales in Association with Yongle, and Asia's largest retrospective for Kusama at the M+ museum in Hong Kong, Yayoi Kusama: 1945 to Now, we dive into seven things for seven decades; this is everything you need to know about the living legend Yayoi Kusama.

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Yayoi Kusama is the most expensive living female artist

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In May of this year, Phillips New York hosted their most successful auction in company history, with a new world auction record set for Kusama’s Untitled (Nets). Part of the artist’s coveted early series of white Infinity Net paintings, Untitled (Nets) hammered down for US$10,496,000 against estimates of US$5 - 7 million.

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Yayoi Kusama, Untitled (Nets), 1959
\nsold for US$10,496,000 at Phillips’ 20th Century & Contemporary Art Evening Sale May 2022, New York

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Although Kusama’s paintings are a sight to behold, the artist is perhaps better known for her extraordinary and otherworldly sculptures and installations. Her iconic print and affection for the humble pumpkin are the features of multitude sculptures installed around the world, including the Matsumoto City Museum of Art in Nagano, Kusama’s birthplace.

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She lives in a psychiatric facility in Tokyo, voluntarily

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"I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art." — Yayoi Kusama

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Since early childhood, Kusama has suffered from visual and aural hallucinations, as well as obsessive neuroses.

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Now 93 years old, Kusama lives in a psychiatric institute in Tokyo, after voluntarily checking herself into the facility in 1977. She goes to work at her studio every day, just across the street from the institute, and returns by dinner.

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Inspired by her hallucinatory experiences, Kusama's Infinity Nets is not only the artist's longest-running series (made public when she first exhibited in New York in 1959), but its rhythmic motion and sense of infiniteness, "without beginning, end, or centre", has also become her form of art therapy.

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Yayoi Kusama, INFINITY-NETS (GMBKA), 2013
\nLot 12, Estimate HK$ 12,000,000 - 18,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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A remarkable example from the artist's Infinity Nets series, INFINITY-NETS (GMBKA) is among the highlights of this season's 20th Century and Contemporary Art Hong Kong Evening Sale. Through her markings - both relentless yet reverberant – Kusama immerses the viewer completely in her dense field. Painted in 2013, the acrylic on canvas has a pre-sale estimate of HK$12 - 18 million.

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She's had a lifelong aversion to sex - but represented free love

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“I began making penises in order to heal my feelings of disgust towards sex. Reproducing the objects, again and again, was my way of conquering the fear. It was a kind of self-therapy, to which I gave the name ‘Psychosomatic Art’.”—Yayoi Kusama

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Kusama developed an aversion to sex after her mother forced a young Kusama to spy on her father while with his lovers. She identifies as asexual, although her work often explores phallic forms and sexuality juxtaposed with elements of humour, like her soft sculptures in Phalli's Field Infinity Room.

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Yayoi Kusama in her Phalli's Field infinity room in 1965.
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

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When it comes to Kusama's own relationships, the artist describes her relationship with the American visual artist Joseph Cornell as romantic yet platonic. The pair remained close until his death in 1972, which affected Kusama deeply.

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Kusama's pumpkins give Warhol's soup cans a run for their money

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“The first time I ever saw a pumpkin was when I was in elementary school and went with my grandfather to visit a big seed-harvesting ground…and there it was: a pumpkin the size of a man’s head… It immediately began speaking to me in a most animated manner” —Yayoi Kusama

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How do you like your pop art goods - organic or processed?

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Kusama and Andy Warhol were, in fact, peers in New York's thriving pop art scene. Where Warhol had his soup cans and the Factory, Kusama had her anthropomorphic pumpkins and reminders of her family's seed farm in Matsumoto prefecture.

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Kusama's diet of pumpkins during World War II may explain at least a part of her attachment to the generous gourd, but the artist's pumpkin motif truly came to harvest through vivid hallucinations in her youth. The pumpkin first appeared in Kusama’s travelling exhibition in Nagano and Matsumoto, Japan, 1946, when she presented Kabocha (Pumpkin).

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Yayoi Kusama, Pumpkin (2), 1990
\nLot 256, Estimate HK$400,000 - 600,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

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In this artist’s proof, a silkscreen printed in 1990, we can see Kusama’s pumpkin in all its dotted glory, against a landscape of the artist’s signature infinity net.

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She was a fashionista well before her Louis Vuitton capsule collection

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"When you understand the beauty of fashion, and the beauty of small planets, you realise that fashion is a marvellous form of expression."- Yayoi Kusama

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In 2012, the living legend collaborated with French fashion house Louis Vuitton and its Creative Director Marc Jacobs to reveal the Infinity Dots capsule collection.

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But Kusama has often shared her long-standing fondness for fashion through her art, often depicting shoes and hats to evoke the joyous feeling of accessorising.

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Yayoi Kusama, Red Shoe, 1979
\nLot 211, Estimate HK$3,000,000-5,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle, 30 November

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The delight in wearing red high heels knows no bounds for Kusama, as we see in the vibrant work Red Shoe, created just six years after Kusama moved back to Japan from New York. The captivating illustration of the red, high heeled boot comes to life with a rhythmic overture of swirling polka dots and undulating leaves.

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She used polka dots to get out of her head - and stop the Vietnam War?

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"Our earth is like one little polka dot, among millions of other celestial bodies." — Yayoi Kusama

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Kusama's polka dots date back to hallucinatory experiences in her youth and became her signature as she navigated the New York art scene. A stark contrast to the dramatic marks popularised by abstract expressionist Jackson Pollock, Kusama's polka dots are comparatively calm, collected and offer a rhythmic optical sensation.

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Her repetitive strokes also help her to eliminate the intrusive thoughts brought on by mental struggles. They are considered a means for her - and vicariously for the viewer - to "obliterate the self" and become one with the universe.

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In 1968, Kusama wrote a letter to then-President Richard Nixon campaigning for an end to the Vietnam War. She proposed to adorn his "hard, masculine body" with polka dots so that they might "forget [themselves] and become one with the Absolute."

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Yayoi Kusama, Gold Accumulation (1), 1999
\nLot 15, Estimate HK$ 8,000,000 - 12,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

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Coming to auction for the first time after spending more than two decades as part of an important Asian collection, Gold Accumulation (1), offered in Phillips Hong Kong's Evening Sale, is an exquisite example of this iconic motif.

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The work’s significance in Kusama’s canon cannot be understated; it was included as one of only two acrylic paintings in Galerie Pierre’s exhibition, Love Explosion: Yayoi Kusama After Ten Thousand Tribulations in Taichung.

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The circles of varying opacities evoke a soft, pulsating motion, immersing the viewer completely in its gold, globulous web.

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M+ will host the largest retrospective for Kusama in Asia, outside of Japan.

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Hong Kong's M+ museum is the proud host of Kusama's largest retrospective in Asia outside of Japan from 12 November 2022 to 14 May 2023.

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Yayoi Kusama, Pumpkin Chess, 2003
\nLot 212, Estimate HK$2,400,000 - 4,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

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Yayoi Kusama, Heart, 1999
\nLot 213, Estimate HK$1,000,000 - 2,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

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Titled 1945 to Now, the exhibition will allow viewers access to more than 200 works, including paintings, drawings, sculptures, installations, and archival materials that are a testament to Kusama's long and storied career.

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20th Century & Contemporary Art and Design Day Sale in Association with Yongle

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30 November

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Click here for more information.

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20th Century & Contemporary Art Evening Sale in Association with Yongle

\n\n

1 December

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Click here for more information.

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\n","2022-11-10T03:32:15.000000Z","https://www.phillips.com/article/108269772/repetition-and-accumulation-7-things-you-need-to-know-about-yayoi-kusama",1690,4026,108269772,{"_1498":1582,"_1500":231,"_1501":1583,"_519":1584,"_1504":1585,"_1506":1586,"_1508":1509,"_1510":1511,"_1512":474,"_1513":1587,"_467":732,"_1515":1588,"_1517":1589,"_1519":1590},"https://flockler.com/thumbs/sites/889/176668_spf_uc702223-187aeff7-6af1-40a4-b193-0f3147a21b3a_s600x0.jpg","草間彌生正於香港舉辦亞洲最大規模的個人回顧展，以下是有關草間彌生的七件事，不容錯過。","有關草間彌生的七件事","

草間彌生《紅靴》，1979年作。
\n拍品211 ，估價 3,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

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草間彌生生於1929年，歷經戰時日本的保守主義和父權社會。早年她在東瀛島國舉辦個展，開闢了獨特的個人板塊，於1958年毅然出走紐約。當時，紐約的抽象表現主義處於高潮，波普藝術運動同時亦蓬勃發展。累積七十年的反主流文化，以及提倡極簡主義和女權主義後，草間成功建立自己的品牌，被譽為世上最成功的在世女藝術家。

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萬眾期待的富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計拍賣舉行在即，而亞洲最大規模的草間彌生回顧展《草間彌生：一九四五年至今》亦剛在香港M+博物館開幕，深入探討藝術家的七十年職業生涯。以下是有關這位在世傳奇人物的七件趣事。

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草間彌生是史上最高拍賣成交紀錄的在世女藝術家

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草間彌生被譽為歷來最成功的在世女性藝術家之一，她的作品在拍賣市場中經常遠超估價成交，足以反映上述一點。

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今年5月，富藝斯紐約舉辦本行歷來最成功的拍賣，以《無題（網）》（Untitled (Nets)）為草間彌生刷新個人世界拍賣紀錄。拍品屬於藏家夢寐以求的早期白色《無限網》（Infinity Net）畫作系列，終以10,496,000美元成交，遠超500萬至700萬美元的估價。

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草間彌生《無題（網）》，1959年作。
\n成交價：10,496,000美元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，2022年5月

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草間彌生的畫作固然值得留意，但這位藝術家超凡脫俗的雕塑和裝置同樣不容忽視，例如代表作南瓜。她對南瓜尤其喜愛，而南瓜的標誌波點圖案更全球，在眾多雕塑中獨樹一幟，其中之一置於草間出生地長野縣松本市立美術館。

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她自願入住東京的精神病院

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「我每天都與痛苦、焦慮和恐懼作戰，而我發現唯一可以緩困的方法就是繼續創作藝術。」 —草間彌生

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草間彌生自小在視覺和聽覺方面患有幻覺障礙，以及強迫性神經症。

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現年93歲的草間彌生於1977年自願入住東京一家精神病院。她每天在位處病院對面的工作室創作，在晚膳前再次回到院中。

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受幻覺體驗的啟發，草間彌生的《無限網》不僅是藝術家維持最久的創作系列（1959年在紐約首次公開展出），當中的筆觸節奏和無窮無盡之感也成為了她的藝術療法：「沒有開始、終結或中段」。

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草間彌生《無限網（GMBKA）》，2013年作。
\n拍品 12 ，估價 12,000,000 - 18,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，12月1日

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《無限網（GMBKA）》是該系列的代表作之一，也是本季富藝斯與永樂拍賣聯合呈獻的二十世紀及當代藝術香港夜拍焦點所在。畫上筆觸狠勁十足，盪氣迴腸，可見草間有意將觀者置於密集領域之中。拍品於2013年創作，以壓克力和畫布為媒材，估價1,200萬至1800萬港元。

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她終生厭性，卻代表著自由的愛

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「為了治癒我對性的厭惡感，我開始以陰莖為創作題材。重覆製作厭惡之物是我克服恐懼的方式。這是一種自我治療，因此我將其命名為『心身藝術』。」— 草間彌生

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在母親強迫少年草間監視其父偷情以後，草間對性產生了厭惡感。儘管她的作品常以幽默元素探索陰莖形態和性（例如她在無限房間《陽具的領域》【Phalli's Field】所展示的軟雕塑），她認為自己是無性者。

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草間彌生位處1965年的無限房間《陽具的領域》。
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

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有關草間彌生的人際關係，藝術家將自己與美國視覺藝術家約瑟夫．康奈爾（Joseph Cornell）的一段情描述為浪漫柏拉圖式關係。直到康奈爾於1972年去世前，這對藝術家一直保持密切聯繫，並且深深影響了草間。

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草間彌生的《南瓜》與安迪．沃荷的《湯罐》並駕齊驅

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「在我上小學的時候，我第一次看到南瓜，當時我和祖父一起到訪廣闊的農地……一個人頭大小的南瓜在我眼前……立即以生動有趣的方式引起我的共鳴。」 —草間彌生

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你喜歡有機的波普藝術品，還是加工的波普藝術品？

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事實上，草間彌生和安迪．沃荷（Andy Warhol）在波普藝術於紐約蓬勃發展之時，是為彼此的同行。當時沃荷創立《湯罐》系列（soup cans）和工廠工作室（the Factory），而草間彌生則有擬人化《南瓜》系列和松本家族農場。

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草間彌生在二戰期間經常進食南瓜，或許可以解釋她對這個大葫蘆的部分依戀。然而，南瓜主題確實由她自幼產生的生動幻覺應運而生。南瓜首次出現在1946年日本長野縣和松本市的巡迴展覽之中，當時她展示了同名作《南瓜》（Kabocha）。

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草間彌生《一個南瓜 (2)》，1990年作。
\n拍品 256 ，估價400,000 - 600,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日
\n在這件1990年絲網印刷的藝術家試作版中，草間彌生的南瓜滿佈波點，並以藝術家標誌性《無限網》背景映襯。

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推出路易威登「膠囊」系列之前，她已是一位時尚達人

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「了解到時尚和小行星之美以後，你就知道時尚是一種奇妙的表達方式。」- 草間彌生

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2012年，這位在世傳奇與法國時裝品牌路易威登及其時的創意總監Marc Jacobs合作，推出了名為「無線點」（Infinity Dots）的膠囊系列。

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然而，草間彌生此前經常通過她的藝術，例如描繪鞋子和帽子，展示配戴首飾的愉悅，分享她對時尚的癡心長情。

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草間彌生《紅靴》，1979年作。
\n拍品211 ，估價 3,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

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穿上紅色高跟鞋的樂趣對草間來說無可比擬，可見於活力鮮明的作品《紅靴》之中，而此作製於草間從紐約回國後的第六年。紅色高跟靴的構圖迷人，配上旋轉的波點和節奏十足的樹葉起伏，栩栩如生。

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她用波點來忘憂解困，並阻止越南戰爭？

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「綜觀數以百萬計的其他天體，我們的地球就像一個小圓點。」— 草間彌生

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草間彌生的波點創作來自她自小所產生的幻覺，並且成為她在紐約藝術界的標誌。上述標記與抽象表現主義者積遜．波洛克（Jackson Pollock）的戲劇性潑墨形成鮮明對比；比較之下，波點更為冷靜平和，其視覺效果更具節奏感。

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當中的反覆落筆也有助她消除精神鬥爭所帶來的侵入性想法，被外界認為是其手段之一，也是替代觀者的手段以「消除自我」，並與宇宙合一。

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1968年，草間彌生去信其時的美國總統理察．尼克遜（Richard Nixon），呼籲結束越南戰爭。她提議用波點裝飾他「堅硬的陽剛身體」，令政客「忘記自我，與絕對合一」。

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草間彌生《金色積累 (1)》，1999年作。
\n拍品15 ，估價 8,000,000 - 12,000,000
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，12月1日

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本季夜拍焦點之一《金色積累 (1)》曾經藏於一個重要亞洲收藏，也是標誌性波點主題的絕佳例子，逾二十年之久後首次出現於拍賣市場。

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拍品是草間彌生經典之作，其重要性不容小覷，屬於藝術家台中臻品藝術中心個展《愛情核爆》僅有的兩幅壓克力展品之一。

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不同透明度的波點洋溢著柔和的脈動，使觀者完全沉浸於金色的球狀網絡之中。

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香港M+博物館現正舉辦日本以外亞洲最大規模的草間彌生回顧展

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香港M+博物館於2022年11月12日至2023年5月14日期間舉辦草間彌生日本以外亞洲最大規模的回顧展。

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草間彌生《南瓜西洋棋》，2003年作。
\n拍品 212 ，估價2,400,000 - 4,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

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草間彌生《心》，1999年作。
\n拍品 213，估價1,000,000 - 2,000,000港元。
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

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回顧展名為《草間彌生：一九四五年至今》，展示200多件作品，包括繪畫、素描、雕塑、裝置和文獻等，呈現藝術家漫長而傳奇的職業生涯。

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富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

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富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，12月1日

\n\n

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The Soul of an Interior

Through a Domestic Lens

The Female Gaze

Collector’s Digest

Damien Hirst

Damien Hirst, Forgiven, 2008\nbutterflies and household gloss on canvas\nLot 10, Estimate HK$ 6,000,000 - 9,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

Damien Hirst, After the Rain, 2007\nbutterflies and household gloss on canvas\nLot 237, Estimate HK$ 3,000,000 - 5,000,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November

María Berrío

María Berrío, The Lovers 2, 2015\nwatercolor, swarovski rhinestones and Japanese rice paper collage on canvas\nLot 3, Estimate HK$ 4,000,000 - 5,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December\n

Derek Fordjour

Derek Fordjour, Single Pivot Turn, 2018\nacrylic, charcoal and oil pastel on newspaper mounted on canvas\nLot 2, Estimate HK$ 2,000,000 - 3,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

Yayoi Kusama

Yayoi Kusama, Heart, 1999\nmixed media\nLot 213, Estimate HK$ 1,000,000 - 2,000,000\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,\n30 November\n

Chiharu Shiota

Chiharu Shiota, State of Being (Boy’s Kimono), 2013\nmetal, black thread and kimono\nLot 16, Estimate HK$1,500,000 - 2,500,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

Chiharu Shiota, Skin, 2015\nthread of canvas\nLot 215, Estimate HK$ 250,000 - 350,000\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,\n30 November

Loie Hollowell

Loie Hollowell, Split Orbs in gray-brown, yellow, purple and carmine, 2021\noil, acrylic and high-density foam on linen mounted on panel\nLot 7, Estimate HK$ 4,000,000 - 6,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

20th Century & Contemporary Art & Design Day Sale in association with Yongle

20th Century & Contemporary Art Evening Sale in association with Yongle

達明安·赫斯特（Damien Hirst）

達明安·赫斯特《寬恕》2008年作\n蝴蝶 家用亮光漆 畫布\n拍品10，估價6,000,000 - 9,000,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣\n12月1日

達明安·赫斯特 《風雨過後》2007年作\n蝴蝶，家用亮光漆，畫布\n拍品237，估價3,000,000 - 5,000,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣\n11月30日

瑪莉亞·貝利奧（María Berrío）

瑪莉亞·貝利奧《戀人 2》2015年作\n水彩 施華洛世奇水鑽 日本米紙拼貼 畫布\n拍品3，估價4,000,000 - 5,000,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣\n12月1日\n

德里克·福德約（Derek Fordjour）

德里克·福德約《單人平轉》2018年作\n壓克力 炭筆 油性粉彩 報紙 裱於畫布\n拍品2，估價2,000,000 - 3,000,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣\n12月1日

草間彌生

草間彌生 《心》1999年作\n綜合媒材\n拍品213，估價1,000,000 - 2,000,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣\n11月30日

鹽田千春

鹽田千春 《生存的狀態（男孩的和服）》2013年作\n金屬 黑線 和服\n拍品16，估價1,500,000 - 2,500,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣\n12月1日

鹽田千春《肌膚》2015年作\n線 畫布\n拍品215，估價250,000 - 350,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣\n11月30日\n

洛伊·霍洛韋爾（Loie Hollowell）

洛伊·霍洛韋爾 《分裂的球體：灰棕、黃色、紫色、胭脂紅》2021年作\n油彩 壓克力 高密度泡沫 麻布 裱於木板\n拍品7，估價4,000,000 - 6,000,000港元\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣\n12月1日

José Parlá

The Wrinkles of the City. LA Habana. Alicia Adela Hernandez Fernandez, Cuna, 2012 (via JR-ART.net)

Futura

Futura, Patrick, 2019\nLot 152, Estimate HK$ 500,000 - 700,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November

Futura, The Wynwood Wall Project, Art Basel Miami Beach (via Wikiart)

Timothy Curtis

Timothy Curtis, From Space With A Crazy Face III, 2019\nLot 154, Estimate HK$ 240,000 - 350,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November\n

Timothy Curtis, Untitled, 2016, Coney Art Walls, Coney Island (via Coney Art Walls)

Invader

Invader, HK_31, 2015\nLot 150, Estimate HK$ 500,000 - 700,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November

Invader, HK_63, 2014, Hong Kong (via Invader)

Invader, MLGA-03, 2017\nLot 110, Estimate HK$ 700,000 - 900,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November

KAWS

KAWS, Hot Seat Junction, 2010\nLot 23, Estimate HK$ 7,000,000 - 10,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

KAWS, COMPANION, 2010\nLot 24, Estimate HK$ 6,000,000 - 10,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

Banksy

Banksy, Kids on Guns, 2003\nLot 26, Estimate HK$ 8,500,000 - 12,000,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

Banksy, Borodyanka, Ukraine, 2022 (via Banksy Instagram, @banksy)

Banksy, Girl with Balloon & Morons Sepia, 2007\nLot 25, Estimate HK$ 4,500,000 - 6,500,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

20th Century & Contemporary Art & Design Day Sale in association with Yongle

20th Century & Contemporary Art Evening Sale in association with Yongle

何賽·帕拉 （José Parlá）

展覽《夏灣拿：城市的皺紋》Alicia Adela Hernandez攝於2012年古巴費南德斯 (via JR-ART.net)

Futura

Futura《Patrick》，2019年作\n拍品 152，估價 500,000 - 700,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術和設計」日間拍賣，\n11月30日

Futura《溫活牆項目》邁阿密海灘巴塞爾藝術展(via Wikiart)

蒂莫西·柯蒂斯（Timothy Curtis）

蒂莫西·柯蒂斯《來自太空的瘋狂臉孔III》，2019年作\n拍品 154，估價 240,000 - 350,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術和設計」日間拍賣，\n11月30日\n

蒂莫西·柯蒂斯2016年作品《無題》位於康尼島康尼藝術牆。 (via Coney Art Walls)

Invader

Invader《HK_31》，2015年作\n拍品 150，估價 500,000 - 700,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術和設計」日間拍賣，\n11月30日\n

Invader 2014年作品《HK_63》攝於香港。 (via Invader)

Invader《MLGA-03》，2017年作\n拍品 110，估價 700,000 - 900,000港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術和設計」日間拍賣，\n11月30日\n

KAWS

KAWS《重任將至》，2010年作\n拍品 23，估價7,000,000 - 10,000,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術」晚間拍賣，\n12月1日\n

KAWS《同伴》，2010年作\n拍品 24，估價 6,000,000 - 10,000,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術」晚間拍賣，\n12月1日\n

班克斯（Banksy）

班克斯《槍枝上的孩子們》，2003年作\n拍品 26，估價8,500,000 - 12,000,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術」晚間拍賣，\n12月1日\n

班克斯2022年作品，攝於烏克蘭博羅江卡。 (via Banksy Instagram, @banksy)

班克斯《氣球女孩 & 傻瓜們（ 棕色）》，2007年作\n拍品 25，估價 4,500,000 - 6,500,000 港元\n富藝斯與永樂拍賣聯合呈獻 「二十世紀及當代藝術」晚間拍賣，\n12月1日\n

Caroline Walker, The Masquerade, 2012\nLot 27, Estimate HK$ 1,000,000 - 1,500,000\n20th Century & Contemporary Art Evening Sale in Association with Yongle,\n1 December

Caroline Walker

Caroline Walker, Cleaned, 2017\nLot 102, Estimate HK$ 300,000 - 400,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November

Anastasia Bay

Anastasia Bay, Boxer, 2020\nLot 101, Estimate HK$ 100,000 - 150,000\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,\n30 November

Michaela Yearwood-Dan

Damien Hirst, Forgiven, 2008
\nbutterflies and household gloss on canvas
\nLot 10, Estimate HK$ 6,000,000 - 9,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Damien Hirst, After the Rain, 2007
\nbutterflies and household gloss on canvas
\nLot 237, Estimate HK$ 3,000,000 - 5,000,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

María Berrío, The Lovers 2, 2015
\nwatercolor, swarovski rhinestones and Japanese rice paper collage on canvas
\nLot 3, Estimate HK$ 4,000,000 - 5,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December
\n

Derek Fordjour, Single Pivot Turn, 2018
\nacrylic, charcoal and oil pastel on newspaper mounted on canvas
\nLot 2, Estimate HK$ 2,000,000 - 3,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Yayoi Kusama, Heart, 1999
\nmixed media
\nLot 213, Estimate HK$ 1,000,000 - 2,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November
\n

Chiharu Shiota, State of Being (Boy’s Kimono), 2013
\nmetal, black thread and kimono
\nLot 16, Estimate HK$1,500,000 - 2,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Chiharu Shiota, Skin, 2015
\nthread of canvas
\nLot 215, Estimate HK$ 250,000 - 350,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

Loie Hollowell, Split Orbs in gray-brown, yellow, purple and carmine, 2021
\noil, acrylic and high-density foam on linen mounted on panel
\nLot 7, Estimate HK$ 4,000,000 - 6,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

達明安·赫斯特《寬恕》2008年作
\n蝴蝶家用亮光漆畫布
\n拍品10，估價6,000,000 - 9,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

達明安·赫斯特《風雨過後》2007年作
\n蝴蝶，家用亮光漆，畫布
\n拍品237，估價3,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日

瑪莉亞·貝利奧《戀人 2》2015年作
\n水彩施華洛世奇水鑽日本米紙拼貼畫布
\n拍品3，估價4,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日
\n

德里克·福德約《單人平轉》2018年作
\n壓克力炭筆油性粉彩報紙裱於畫布
\n拍品2，估價2,000,000 - 3,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

草間彌生《心》1999年作
\n綜合媒材
\n拍品213，估價1,000,000 - 2,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日

鹽田千春《生存的狀態（男孩的和服）》2013年作
\n金屬黑線和服
\n拍品16，估價1,500,000 - 2,500,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

鹽田千春《肌膚》2015年作
\n線畫布
\n拍品215，估價250,000 - 350,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術和設計日間拍賣
\n11月30日
\n

洛伊·霍洛韋爾《分裂的球體：灰棕、黃色、紫色、胭脂紅》2021年作
\n油彩壓克力高密度泡沫麻布裱於木板
\n拍品7，估價4,000,000 - 6,000,000港元
\n富藝斯與永樂拍賣聯合呈獻二十世紀及當代藝術晚間拍賣
\n12月1日

Futura, Patrick, 2019
\nLot 152, Estimate HK$ 500,000 - 700,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Timothy Curtis, From Space With A Crazy Face III, 2019
\nLot 154, Estimate HK$ 240,000 - 350,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November
\n

Invader, HK_31, 2015
\nLot 150, Estimate HK$ 500,000 - 700,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Invader, MLGA-03, 2017
\nLot 110, Estimate HK$ 700,000 - 900,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

KAWS, Hot Seat Junction, 2010
\nLot 23, Estimate HK$ 7,000,000 - 10,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

KAWS, COMPANION, 2010
\nLot 24, Estimate HK$ 6,000,000 - 10,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Banksy, Kids on Guns, 2003
\nLot 26, Estimate HK$ 8,500,000 - 12,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Banksy, Girl with Balloon & Morons Sepia, 2007
\nLot 25, Estimate HK$ 4,500,000 - 6,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

何賽·帕拉（José Parlá）

Futura《Patrick》，2019年作
\n拍品 152，估價 500,000 - 700,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

蒂莫西·柯蒂斯《來自太空的瘋狂臉孔III》，2019年作
\n拍品 154，估價 240,000 - 350,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
\n

Invader《HK_31 》，2015年作
\n拍品 150，估價 500,000 - 700,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
\n

Invader《MLGA-03》，2017年作
\n拍品 110，估價 700,000 - 900,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日
\n

KAWS《重任將至》，2010年作
\n拍品 23，估價7,000,000 - 10,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

KAWS《同伴》，2010年作
\n拍品 24，估價 6,000,000 - 10,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

班克斯《槍枝上的孩子們》，2003年作
\n拍品 26，估價8,500,000 - 12,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

班克斯《氣球女孩 & 傻瓜們（棕色）》，2007年作
\n拍品 25，估價 4,500,000 - 6,500,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日
\n

Caroline Walker, The Masquerade, 2012
\nLot 27, Estimate HK$ 1,000,000 - 1,500,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Caroline Walker, Cleaned, 2017
\nLot 102, Estimate HK$ 300,000 - 400,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Anastasia Bay, Boxer, 2020
\nLot 101, Estimate HK$ 100,000 - 150,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Michaela Yearwood-Dan, What’s the Use in Yearning, 2021
\nLot 1, Estimate HK$ 250,000 - 350,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Ewa Juszkiewicz, Untitled, 2017
\nLot 103, Estimate HK$ 3,000,000 - 4,000,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Ewa Juszkiewicz, Untitled (after Jean-Antoine Watteau), 2016
\nLot 140, Estimate HK$ 80,000 - 120,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Hulda Guzmán, And Then I Looked Up, 2018
\nLot 135, Estimate HK$ 100,000 - 150,000
\n20th Century & Contemporary Art & Design Day Sale in Association with Yongle,
\n30 November

Loie Hollowell, Split Orbs in gray-brown, yellow, purple and carmine, 2021
\nLot 7, Estimate HK$ 4,000,000 - 6,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

卡羅琳·沃克《化裝舞會》，2012年作
\n拍品 27，估價 1,000,000 - 1,500,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

卡羅琳·沃克《清潔後》，2017年作
\n拍品 102，估價300,000 - 400,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

安娜塔西亞·巴伊《拳擊手》，2020年作
\n拍品 101，估價100,000 - 150,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

米凱拉·伊爾伍德—丹《渴望又有什麼用》，2021年作
\n拍品 1，估價250,000 - 350,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

伊娃·尤斯凱維奇《無題》，2017年作
\n拍品 103，估價3,000,000 - 4,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

伊娃·尤斯凱維奇《無題（讓-安托萬·華托之後）》，2016年作
\n拍品 140，估價80,000 - 120,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，
\n11月30日

胡爾達·古茲曼《然後我抬頭一瞥》，2018年作
\n拍品 135，估價100,000 - 150,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

洛伊·霍洛韋爾《分裂的球體：灰棕、黃色、紫色、胭脂紅》，2021年作
\n拍品 7，估價4,000,000 - 6,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，
\n12月1日

Yayoi Kusama, Untitled (Nets), 1959
\nsold for US$10,496,000 at Phillips’ 20th Century & Contemporary Art Evening Sale May 2022, New York

Yayoi Kusama, INFINITY-NETS (GMBKA), 2013
\nLot 12, Estimate HK$ 12,000,000 - 18,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Yayoi Kusama in her Phalli's Field infinity room in 1965.
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

A flower field in the seed nursery owned by Yayoi Kusama’s family in Matsumoto, Japan.
\nImage: © YAYOI KUSAMA

Yayoi Kusama, Pumpkin (2), 1990
\nLot 256, Estimate HK$400,000 - 600,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

Yayoi Kusama, Red Shoe, 1979
\nLot 211, Estimate HK$3,000,000-5,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle, 30 November

Yayoi Kusama, Gold Accumulation (1), 1999
\nLot 15, Estimate HK$ 8,000,000 - 12,000,000
\n20th Century & Contemporary Art Evening Sale in Association with Yongle,
\n1 December

Yayoi Kusama, Pumpkin Chess, 2003
\nLot 212, Estimate HK$2,400,000 - 4,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

Yayoi Kusama, Heart, 1999
\nLot 213, Estimate HK$1,000,000 - 2,000,000
\n20th Century & Contemporary Art and Design Day Sale in Association with Yongle,
\n30 November

草間彌生《無題（網）》，1959年作。
\n成交價：10,496,000美元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，2022年5月

草間彌生《無限網（GMBKA）》，2013年作。
\n拍品 12 ，估價 12,000,000 - 18,000,000 港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，12月1日

草間彌生位處1965年的無限房間《陽具的領域》。
\nImage: Eikoh Hosoe/Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York

草間彌生《紅靴》，1979年作。
\n拍品211 ，估價 3,000,000 - 5,000,000港元
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術和設計」日間拍賣，11月30日

草間彌生《金色積累 (1)》，1999年作。
\n拍品15 ，估價 8,000,000 - 12,000,000
\n富藝斯與永樂拍賣聯合呈獻「二十世紀及當代藝術」晚間拍賣，12月1日

27

Caroline Walker

The Masquerade

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Caroline Walker