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

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“I developed a strong need to reference those portraits, and to establish a dialogue with them. I was driven by a desire to revitalise history, or rather to create my own story on the basis of it.”
\n— Ewa Juszkiewicz

\n\n

Rewriting the Narrative

\n\n

Having been extensively exposed to classical European portraits, Ewa Juszkiewicz found herself both fascinated and perplexed by them. While the artistry in these works is impeccably executed, with intricate brushwork that enlivens each figure, the representation of women remains strikingly monotonous. As Juszkiewicz noted in an interview with ARTNews, “Their poses, gestures, and facial expressions were very similar and showed no deep emotion or individuality”.ⁱ

\n\n

In response, Juszkiewicz created artworks that challenge the conventions of European portraiture while honouring the significant aspects of tradition. She draws inspiration from female portraits spanning the Renaissance to the 19th century, meticulously recreating the technical virtuosity and stylistic elements of this historical genre. However, she introduces a radical transformation by obscuring or entirely replacing the subject’s faces. Through this practice of recreation and deliberate obstruction, Juszkiewicz articulates her critique of the complex history of female representation in Western art, where female identity has often been shaped by patriarchal societal expectations. Her works engage in a subtle yet powerful critique of classical portraiture, using its very language to expose the underlying mechanisms of control and display.

\n\n

Juszkiewicz elaborates on her creative process and the ideas behind her works in the following interview: Ewa Juszkiewicz: Locks with Leaves and Swelling Buds, which was conducted in conjunction with her latest solo exhibition at the 2024 Venice Biennale.

\n\n

Artistry in Precision

\n\n

The present work, Grove, exemplifies Juszkiewicz's mastery of the medium, particularly in portraying the intricate layers of botanical textures. Unlike many of her other pieces, which often showcase sumptuous details of fashion, the torso of the main figure in this painting is barely visible. Instead, she is depicted wearing a monochromatic robe that seamlessly blends with the background. This minimalist approach shifts the focus to the lush vegetation that obscures the figure’s identity. The vertical composition creates a dynamic sense of upward movement, while the interplay between withered brown leaves and vibrant greenery reflects Juskiewicz’s sophisticated understanding of colour dynamics and natural forms. Her brushwork aligns with her classical training, capturing the life cycle of plants with exquisite attention to detail, including the veins and speckles on the leaves.

\n\n

\n\n

Conceal, Rebel, and Question

\n\n

Almost entirely engulfed by foliage, the present work conceals not only the main figure’s face but also a significant portion of her hair, which becomes entwined in the verdant backdrop. The artist has once remarked ‘Hair is very interesting; it’s often a status symbol.’ⁱⁱ This concealment can be interpreted as a means to protect the figure from scrutiny and to obscure any indication of her social status. By completely obscuring both the face and hair, Juszkiewicz disrupts the traditional principles of portraiture, which often rely on visual tropes shaped by societal expectations regarding women’s appearance and behaviour. In this way, Grove presents a potential manifestation of female portraiture in the absence of the male gaze. Through this exploration, Juszkiewicz challenges the patriarchal conventions that permeate society.

\n\n

“There is also a theme of being overgrown, the fusion of hair and plants, and blurring the boundaries of what is human.”
\n— Ewa Juszkiewicz

\n\n

Beyond her critique of social norms, Juszkiewicz’s portrayal of overgrown vegetation on the figure’s head also invites a broader contemplation of humanity. She considers these paintings part of the historical vanitas genre, explicitly exploring the cycle of life. The plants depicted vary in stages of their life cycles–some are fragile new leaves, others are vibrant, while some are withering. This representation of life’s cycles, combined with the subversion of social conventions, enhances the contemplative nature of her work, prompting a direct interrogation of what it means to be human and the implications that entails.

\n\n

Dorothea Tanning of the 21st Century

\n\n

Juszkiewicz’s works evoke the artistry of Dorothea Tanning, the American modernist painter profoundly influenced by Surrealism, known for amplifying the female experience of confrontation. Juszkiewicz shares Tanning’s fascination with hair, overgrown plants, and the female figure, presenting an uncanny portrayal that blends realistic brushwork with Surrealist themes. Despite being separated by seven decades, Juszkiewicz’s work resonates with Tanning’s, as both artists contribute to a reimagining of the grand narrative from a female perspective– aggression and power.

\n\n

“It’s about confrontation. Everyone believes he/she is his/her drama. While they don’t always have giant sunflowers (most aggressive of flowers) to contend with, there are always stairways, hallways, even very private theatres where the suffocations and the finalities are being played out, the blood red carpet or cruel yellows, the attacker, the delighted victim.”
\n— Dorothea Tanning

\n\n

\"\" — Dorothea Tanning, *Eine Kleine Nachtmusik,* 1943
\nTate, London

\n\n

Collector’s Digest

\n\n

Ewa Juszkiewicz holds a PhD from the Academy of Fine Arts in Krakow, Poland, where she graduated in 2013. Before her debut at Gagosian, New York with Ewa Juszkiewicz: In vain her feet in sparkling laces glow, 2020-21, she exhibited extensively across Europe. Her latest solo exhibition, Locks with Leaves and Swelling Buds, in collaboration with Almine Rech, took place at Palazzo Cavanis during the 2024 Venice Biennale. Juszkiewicz’s works are included in several prestigious public collections, such as the Museum of Modern Art, Warsaw; the Albertina Museum, Vienna; the Institute of Contemporary Arts, Miami; and Musée d’Art Moderne de Paris, Paris.

\n\n

ⁱEwa Juszkiewicz, quoted in “Painter Ewa Juszkiewicz Wants to Shatter Conservative Ideas About Beauty”, ArtNews, November 25, 2020

\n\n

ⁱⁱEwa Juszkiewicz, quoted in “Ewa Juszkiewicz On What Hides Beneath the Veils of Her Faceless Portraits”, ArtNet News, June 3, 2024

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11am-7pm
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Singapore
\n17-20 October 2024
\n11am-6pm
\nArtyzen Singapore
\n9 Cuscaden Road,
\nLevel 4, Singapore 249719
\nEnquiries: christinefernando@phillips.com
\n
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\n2-3 November 2024
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\n

\n\n

View Conditions of Sale >
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YOSHITOMO NARA Baby Blue, 1999

\n","version","1731575064",{"_585":1100,"_516":1101,"_1097":1102},"https://assets.phillips.com/auctions/HK010424/32_hi.jpg","

SANYU Reclining Nude, with Raised Knee II, 1950s/1960s

\n","1731575073",{"_585":1104,"_516":1105,"_1097":1106},"https://assets.phillips.com/auctions/HK010424/33_hi.jpg","

NICOLAS PARTY Mountains, 2023

\n","1731575055",{"_585":1108,"_516":1109,"_1097":1110},"https://assets.phillips.com/auctions/HK010424/34_hi.jpg","

YAYOI KUSAMA Watermelon and Fork, 1989

\n","1731575081",{"_585":1112,"_516":1113,"_1097":1114},"https://assets.phillips.com/auctions/HK010424/35_hi.jpg","

LIU YE Mondrian, Hello, 2002

\n","1731575088",{"_585":1116,"_516":1117,"_1097":1118},"https://assets.phillips.com/auctions/HK010424/36_hi.jpg","

CLAIRE TABOURET Les Débutantes (Dark Water), 2016

\n","1731575096",{"_585":1120,"_516":1121,"_1097":1122},"https://assets.phillips.com/auctions/HK010424/37_hi.jpg","

VOJTĚCH KOVAŘÍK Argos Builds a Ship, 2021

\n","1731575105",{"_585":1124,"_516":1125,"_1097":1126},"https://assets.phillips.com/auctions/HK010424/38_hi.jpg","

WANG GUANGLE Terrazzo 2004.4-6, 2004

\n","1731575114",{"_102":1128,"_104":1129,"_106":1130},"2024-11-15T16:00:00.000000Z","2024-11-24T16:00:00.000000Z",{"_108":288,"_110":300,"_112":301,"_154":302,"_303":304,"_114":305},"articles",[1133,1157],{"_1134":1135,"_1136":231,"_1137":1138,"_516":1139,"_1140":1141,"_1142":1143,"_1144":1145,"_1146":1147,"_1148":471,"_1149":1150,"_462":471,"_1151":1152,"_1153":1154,"_1155":1156},"coverUrl","https://flockler.com/thumbs/sites/889/hk-lead-november-2024-e6ba0eac-37d3-4ec0-8861-57fedc88ed2c_s600x0.jpg","section","summary","A dynamic journey across styles and time emerges in this season’s Hong Kong auctions at Phillips.","The Threads of Southeast Asia’s Artistic Tapestry","body","

Adrien-Jean Le Mayeur de Merprès, By the Lotus Pond. Modern & Contemporary Art Hong Kong Evening Sale.

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Southeast Asian art is a mosaic of styles and influences, each piece a testament to the region’s diverse cultural legacy. The Modern & Contemporary Art auctions at Phillips Hong Kong bring this richness to life, showcasing the enduring legacies of figurative and modernist pioneers, the layered nuances of abstraction, and the bold expressions of today’s contemporary talents.

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From Le Mayeur’s vivid depictions of Bali, to Lê Phổ’s harmonious fusion of East and West, each work forms part of a broader narrative, weaving together the region’s rich and multifaceted artistic legacy.

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Tradition meets Modernity

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Adrien-Jean Le Mayeur de Merprès, By the Lotus Pond. Modern & Contemporary Art Hong Kong Evening Sale.

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Adrien-Jean Le Mayeur de Merprès — a Belgian painter who found his muse in Bali in the 1930s — made a significant mark on Southeast Asian art through his Impressionist interpretation of Balinese culture. By the Lotus Pond is a quintessential example of his work, capturing the serene beauty of Bali’s landscapes and people. It portrays the lotus pond in the home he shared with his wife and muse, the Balinese dancer Ni Pollok.

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Le Mayeur arrived in Bali in 1932, intending to stay only briefly. However, he was so captivated by the island’s lush beauty and its intricate blend of nature and tradition that he spent the remainder of his life there, as it offered a stark contrast to the industrialized Western world.

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Bali was Le Mayeur’s creative sanctuary, and his personal blend of Western Impressionist techniques with local subjects brought Balinese culture to an international audience. His fascination with tropical light and the rhythm of daily life shines through in the still waters of the pond seen in this work. The painting, alive with vibrant hues of pink, green, and earthy tones, portrays Balinese women engaged in quiet, graceful activities amidst lush tropical foliage. As a luminist, Le Mayeur’s masterful depiction of light and movement — a hallmark of his style — reflects a deep connection to his surroundings and a reverence for his adopted culture.

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Lê Phổ, La Toilette, circa 1938–1939. Modern & Contemporary Art Hong Kong Evening Sale.

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A leading figure in Vietnamese Modernism, Lê Phổ bridged Vietnam’s traditional artistry with the modernist techniques he encountered in Paris. Feminine Morning Rituals exemplifies his unique ability to harmonize Eastern and Western aesthetics.

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Rendered in gouache and ink on silk, the painting captures an intimate moment between two women engaged in a morning routine. One, seated with a vermillion cosmetic box in hand, tilts her head gracefully in a balletic pose. Behind her, another figure clad in a luminous yellow áo dài attends to her hair. The composition exudes quiet elegance, offering a timeless glimpse of tradition poised delicately at the cusp of modernity.

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Lê Phổ, who trained at the École des Beaux-Arts de l’Indochine in Hanoi and later built his career in Paris, became a cultural ambassador for Vietnam. His works reflect a profound connection to his heritage, evident in the áo dài worn by his subjects, while also revealing the influence of European Modernism. The flattened perspective, intricate patterns, and muted tones lend the scene an ethereal quality, embodying the cultural and artistic duality that defines his oeuvre.

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Left: Lee Man Fong, Portrait of a Seated Lady. Right: Lee Man Fong, Portrait of a Seated Woman. Modern & Contemporary Art Hong Kong Day Sale.

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Born in China, raised in Southeast Asia, and trained in the Netherlands, Lee Man Fong exemplifies this fusion of diverse cultural identities. His works — often centered on the serene rural life of Indonesia — are characterized by muted tones and tranquil atmospheres, reflecting the idyllic simplicity of his subjects. At the same time, his compositions carry a distinctly Chinese sensibility, blending his heritage with the influences of his adopted cultures.

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This transcultural synthesis is exquisitely captured in Portrait of a Seated Lady and Portrait of a Seated Woman. Both works depict indigenous Indonesian women seated against rustic backdrops, presented in vertical compositions reminiscent of traditional Chinese painting. The delicate interplay of light and softly saturated tree branches evokes a meditative quality, saluting Lee’s Chinese roots. Yet, the figures’ physical realism, achieved through oil paint and the nuanced contrast of light and shadow, reflects the influence of Dutch Old Masters, seamlessly integrating Western techniques with Eastern aesthetics.

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Lee’s ability to merge these artistic traditions results in deeply evocative works that transcend cultural boundaries. His portraits are not merely visual representations but poetic reflections of a utopian rural life, capturing the essence of Southeast Asia through a multicultural lens.

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Abstract Explorations

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Awang Damit Ahmad, Perjalanan Utara: Kinkir Pun Mula Sepi (A Journey to the North: Even the Beginning of All Things Start with Silence), 2010. Modern & Contemporary Art Hong Kong Day Sale.

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Awang Damit Ahmad is a prominent voice in Malaysian abstract art whose works are deeply intertwined with the socio-cultural fabric of Southeast Asia. Perjalanan Utara, part of his acclaimed Iraga series, explores themes of nature, memory, and identity. Drawing from his upbringing in a coastal fishing village, the painting captures the elemental forces of Malaysia’s coastal life. Bold black strokes and a palette of blues and reds evoke the turbulence of monsoonal storms, which disrupt daily rhythms and shape the lives of those who depend on the sea near the Tropic of Cancer. Layered textures and abstracted forms imbue the work with emotions, reflecting the artist’s ability to transform personal experiences into universal narratives.

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Ahmad’s practice exemplifies the fusion of Abstract Expressionism with local narratives, a defining hallmark of his oeuvre. While abstract in form, his works echo the rhythms of Southeast Asia’s landscapes and cultural traditions, transforming personal memories and national identity into a universal visual language. This unique synthesis places him as a central figure in Malaysia’s post-colonial artistic evolution.

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Marking Awang Damit Ahmad’s debut at Phillips, this painting is a milestone in the global recognition of his art. Highly sought after, his works are part of prestigious collections, including the National Visual Arts Gallery of Malaysia, the Central Bank of Malaysia, and Petronas Gallery in Kuala Lumpur.

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Cheong Soo Pieng, Landscape, 1977. Modern & Contemporary Art Hong Kong Day Sale.

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Cheong Soo Pieng, a pioneering figure in Singaporean Modern art, exemplifies the fusion of diverse cultural and artistic influences. Upon relocating to Singapore in 1946, Cheong melded his training in traditional Chinese ink and Western oil painting with the Southeast Asian milieu, spearheading the iconic Nanyang style. His early works elegantly depicted Malayan and Balinese subjects, balancing the conventions of Eastern and Western art. However, Cheong's creative journey extended far beyond figuration. Following his transformative European travels in the 1960s, he embarked on a bold exploration of abstraction, redefining his artistic practice.

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Created in 1977, Landscape marks a significant phase in Cheong’s abstractionist oeuvre. The composition features clusters of quadrilateral shapes against a monochromatic blue backdrop, evoking the urban rhythms of a rapidly modernizing Singapore. By reinterpreting industrial forms and translating their materiality into painterly elements, Cheong crafts a compelling vision of an evolving urban landscape. The geometric order is softened by varying shades of white and grey, creating a sense of balance and rhythm that invites contemplation.

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Cheong’s multifaceted exploration of media, themes, and styles underscores his enduring legacy as a cultural innovator. His works traverse the boundaries between tradition and modernity, East and West, figuration and abstraction. Today, his contributions are celebrated in major collections and exhibitions.

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Contemporary Voices

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Roby Dwi Antono, Little Girl With Crustacean's Claw, 2023. Modern & Contemporary Art Hong Kong Day Sale.

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Born in 1990 in Indonesia, Roby Dwi Antono is a self-taught artist who has rapidly gained international recognition for his distinctive visual language. Seamlessly blending fantastical imagery with Surrealist and Renaissance influences, his works evoke a sense of wonder that is both nostalgic and profoundly introspective.

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Little Girl With Crustacean’s Claw shows Roby’s signature style, featuring starry-eyed children and mythological creatures in a dreamlike tableau. Rendered in warm, dusky tones, the painting captures a whimsical yet contemplative mood, weaving narratives that are both enigmatic and deeply personal. Drawing from his Indonesian heritage, Antono creates works that resonate with universal themes, bridging cultural specificity and global appeal.

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Antono’s storytelling approach and Surrealist vision have redefined the boundaries of Southeast Asian contemporary art while positioning him firmly within a global artistic context. His works are highly sought after by collectors and have been showcased internationally, including at exhibitions in Tokyo, Los Angeles, Frankfurt, Melbourne, and Art Basel Hong Kong in 2021.

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Kitti Narod, No. 1, 2021. Modern & Contemporary Art Hong Kong Day Sale.

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\n
When I see human beings, I sympathize; we all share the same happiness and sadness. It’s also about equality and space. Space means opportunity; we all need to share it equally, even if it sounds utopian. —Kitti Narod
\n

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Thai artist Kitti Narod captures the essence of human connection in his art, celebrating the shared joys and universal emotions that bind us all. His works reflect a utopian vision in which space becomes a metaphor for opportunity — something to be shared equally, transcending societal barriers.

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No. 1 exemplifies Kitti’s lighthearted yet meaningful approach, depicting vibrant, joyous scenes of communal life through a colourful and dynamic palette. Rather than moralizing, his compositions evoke an effortless optimism, inviting viewers to rediscover the simple pleasures of coexistence and the unifying bonds of humanity.

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Though rooted in Thai traditions and values, Kitti’s art resonates universally, embodying the spirit of inclusivity and harmony that defines the contemporary Southeast Asian art narrative.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Seven Things to Know About Sanyu >

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The Precious Collection of Sin-May Roy Zao >

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勒邁耶《荷花池旁》。現代及當代藝術香港晚間拍賣

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東南亞藝術是風格與影響交織而成的馬賽克，每件作品均是該地區多元文化傳承的見證。富藝斯香港現代及當代藝術拍賣將會展現箇中的豐盛多樣，呈現具象與現代主義先驅的悠久傳承、抽象藝術的多層次內涵，以及當代藝術家的大膽表現。

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從勒邁耶對峇里島景象的生動描繪，到黎譜將東西方美學和諧融合的傑作，每件拍品都構成了更廣闊敘事的一部分，共同編織出該區豐富而多面的藝術遺產。

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傳統與現代的交匯

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勒邁耶《荷花池旁》。現代及當代藝術香港晚間拍賣

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勒邁耶（Le Mayeur）出生於比利時，1930年代在印尼峇里島發現他的繆斯，其後定居該島。他的作品在東南亞藝術中舉足輕重，展現了西方印象派技巧與峇里主題的獨特融合。《荷花池旁》是勒邁耶的作品典範，捕捉了峇里自然景觀及人民生活之靜美，同時描繪了藝術家和妻子兼繆斯、峇里舞者Ni Pollok共享的家用蓮花池。

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勒邁耶於1932年抵達峇里時，原本僅打算停留數月；但他如此著迷於這座島嶼，沉醉在島上繁茂的風景和峇里大自然與傳統文化的交織，最終在那裡度過餘生，並發現一片遠離西方工業世界的天地。

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峇里島是勒邁耶的創作天堂，他將西方印象派技巧與當地主題結合，而如此獨有結合將峇里島文化呈上國際藝術舞台。他對熱帶光線和日常生活節奏的迷戀在畫中有跡可尋，尤其於池塘平靜水面上更是熠熠生輝。此次拍品的調色板以粉紅、綠色和大地色等暖色調為主，描繪了峇里島婦女在茂密的熱帶植被中，專注於寧靜而優雅的活動。作為一位光影畫家，勒邁耶對光線與動態的巧妙刻畫，也是個人風格的標誌，展現了他與周圍環境的深厚聯繫，以及他對峇里文化的深深欽佩。

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黎譜《梳妝》約1938-1939年作。現代及當代藝術香港晚間拍賣

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作為越南現代主義的重要代表人物，黎譜（Lê Phổ）糅合了越南傳統藝術與他在巴黎接觸到的現代主義技法，而《梳妝》正正展現了他將東西方美學和諧融合的獨特能力。

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此次拍品以水墨、水粉、絹本為媒材，捕捉兩位女性晨起儀式的親密場景。一位有著芭蕾般優美的姿態並端坐著，手持朱紅色化妝盒，頭輕輕傾斜；另一位仕女身著亮黃色奧黛（áo dài），站在女子身後輕輕撩起女子的頭髮為其打理。構圖散發著恬靜優雅的氛圍，精緻地呈現了處於傳統與現代交界處的永恒一瞥。

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黎譜曾於河內印度支那美術學院接受培訓，隨後在巴黎建立了他的藝術生涯，成為越南的文化大使。他的作品深刻反映了他對自身傳統的聯繫，而這點在畫中人物所穿的越南傳統服飾奧黛中表露無遺，同時也展現了歐洲現代主義的影響。扁平化視角、細緻的服飾圖案，以及柔和的色調為畫面增添了一種飄逸的質感，完美體現了定義個人風格的文化與藝術雙重性。

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左：李曼峯《仕女坐像》。右：李曼峯《女子坐像》。現代及當代藝術香港日間拍賣

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李曼峯出生於中國，在東南亞成長，並於荷蘭接受藝術訓練，詮釋了多元文化身份的融合。他的作品經常聚焦於印尼原住民寧靜的鄉村生活，以柔和的色調與靜謐的氛圍展現其主題的田園之美。同時，他的構圖顯露出他的中國根源，有著顯著的跨文化嘗試，把原住民文化與其所生活的文化互相結合。

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兩件李曼峯的拍品《仕女坐像》和《女子坐像》皆為跨文化實踐的典範。兩件拍品為印尼原住民婦女的肖像畫，它們皆以鄉村的景色作為背景。藝術家特意採用了中國畫裏常見垂直的構圖，兩件拍品中精緻的光源和柔和飽滿的樹枝，交織出一種冥想般的質感，進一步深化藝術家向中國畫以及其根源的致敬。與此同時，李曼峯筆下的人物形態特徵與荷蘭古典大師相似，巧妙地透過光影對比來傳達情感，結合西方技法與東方美學。

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李曼峰將這些藝術傳統融會貫通，創作出超越文化界限的作品，深具感染力。他的肖像畫不僅是視覺上的再次呈現，更是對田園生活的詩意反思，通過多元文化的視角捕捉出東南亞的精髓。

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探索抽象藝術

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阿旺·達密·阿麥德《向北：萬物始於寂靜》2010年作。現代及當代藝術香港日間拍賣

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阿旺·達密·阿麥德（Awang Damit Ahmad）是馬來西亞抽象表現主義的代表藝術家，其作品與東南亞的社會文化脈絡緊密相連。《向北：萬物始於寂靜》（Perjalanan Utara）出自其備受讚譽的「東北風」（Iraga）系列，探討自然、記憶與身份等主題。這幅畫作隱約浮現漁家捕魚的光景，捕捉了馬來西亞沿海生活的原始力量。本作在粗黑線條之上叠加藍、白與紅的色彩層次，讓人聯想到暴雨與風暴的東北季風，對北回歸線附近的捕魚活動影響巨大。層層堆疊的質感與抽象的形態為作品注入了情感，反映出藝術家將個人經歷轉化為普世敘事的能力。

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阿麥德的創作體現了抽象表現主義與本地敘事的融合，這也個人其藝術風格的鮮明特徵。儘管形態上偏向抽象，但他的作品迴響著東南亞景觀與文化傳統的律動，將個人記憶與民族身份轉化為一種普遍的視覺語言。上述獨特的融合也使他成為馬來西亞後殖民藝術演進的核心人物之一。

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同時，這是富藝斯首次呈獻阿旺·達密·阿麥德的作品，標誌著藝術家在國際藝術舞台的里程碑。其作品備受推崇，廣被私人及機構收藏，包括馬來西亞國家視覺藝術畫廊、馬來西亞中央銀行，以及位於吉隆坡國油雙子塔的國油藝廊。

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鐘泗賓《抽象景》1977年作。現代及當代藝術香港日間拍賣

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鐘泗賓是新加坡現代藝術的先驅人物，展現了多元文化與藝術影響的融合。自1946年遷居新加坡以來，鐘泗賓在其中國水墨及西方油畫的基礎上，專注表現東南亞本土主題，開創了代表性「南洋畫派」。他的早期作品展現優雅的馬來亞及峇里島女性及其生活日常，平衡了東西方藝術的傳統。然而，鐘泗賓大膽跳脫其固有的具象繪畫，在1960年代歐旅歸來後，涉足全新的抽象藝術領域，重新定義了個人藝術實踐。

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《抽象景》創作於1977年，標誌著鐘泗賓抽象藝術創作的重要階段。這幅畫整體背景以單調的藍色為主，其中填滿相互重疊交錯的四邊形，讓人思考此時新加坡高歌猛進的工業化城市化進程所帶來的種種影響。鐘泗賓將工業物品的有形物質性轉化為二維繪畫元素，進一步將城市景觀的表現，抽象為形式之相互作用。畫中的幾何秩序和深淺不一的色彩相得益彰，混同白色和灰色，以此營造出平衡感和韻律感，吸引觀眾靜心觀賞。

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鐘泗賓的多元探索橫跨媒材、主題和風格，奠定他作為文化實驗先鋒的地位。其作品遊走於傳統與新方法、東方與西方、具象與抽象之間，如今已被多個著名私人及公共機構永久收藏。

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當代聲音

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羅比·迪·安東諾《長著甲殼動物利爪的小女孩》2023年作。現代及當代藝術香港日間拍賣

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羅比·迪·安東諾在1990年出生於印尼，自學成才，也是位冉冉升起的當代藝術新星，以獨特視覺語言著稱。他的作品風格融合了超現實主義與古典文藝復興時期的夢幻意象，喚起了既懷舊又深刻內省的驚奇感。

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《長著甲殼動物利爪的小女孩》展示了安東諾的標誌性風格，畫中的星眸孩子與神話生物構成了夢幻般的畫面。以溫暖昏暗的色調呈現；這幅畫捕捉了一種奇異又富有沉思的氛圍，編織出既神秘又深具個人色彩的敘事。受印尼文化遺產的啟發，安東諾創作的作品在表現普世主題的同時，橋接了本土文化的特定性與全球吸引力。

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安東諾的敘事方式與對於超現實主義的視野重新定義了東南亞當代藝術的邊界，同時將他穩固地定位於全球藝術的語境之中。他的作品深受藏家青睞，並在全球廣泛展示，例如東京、洛杉磯、法蘭克福、墨爾本，以及2021年香港巴塞爾藝術展等。

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基蒂·納羅德《第1號》2021年作。現代及當代藝術香港日間拍賣

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「當我看到人類時，我便心生同情；我們有著同樣的喜悅和悲傷。我的作品也是關於平等和空間的。空間意味著機會；我們都應當平等分享，即便這聽起來很烏托邦。」—基蒂·納羅德
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泰國藝術家基蒂·納羅德（Kitti Narod）在他的藝術中捕捉了人類聯繫的精髓，歌頌連結人類種族的共同歡樂和普遍情感。他的作品反映了一種烏托邦的願景，其中空間成為機會的隱喻：這本應平等共享，超越任何社會障礙。

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《第1號》展示了納羅德輕鬆卻富有意義的創作方式，通過色彩繽紛和充滿活力的色盤描繪了社區生活的活潑愉快場景。他的構圖並不刻意說教，而是喚起一種輕鬆的樂觀情懷，邀請觀者重新發現共存的簡單快樂和人與人之間的聯繫。

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雖然根植於泰國的傳統與價值觀，納羅德的藝術作品卻具有普世共鳴，體現了當代東南亞藝術敘事中所定義的包容性和和諧精神。

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Ewa Juszkiewicz

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Ewa Juszkiewicz