Trauma

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  • Provenance

    Private Collection
    Est-Ouest Auctions, Hong Kong, 25 November 2008, lot 218
    Private Collection
    Seoul Auction, Hong Kong, 3 April 2012, lot 22
    Acquired at the above sale by the present owner

  • Catalogue Essay

    While training at the Hubei Academy of Fine Arts in the 1980s, Zeng Fanzhi was trained in a Soviet Socialist, Realist style, despite the artist’s personal inclination towards Expressionism, which he studied arduously in secret. Turning to Western Expressionist masters such as Jean Dubuffet or Willem de Kooning—the latter of which hugely impacted Zeng’s later expressive brushstrokes—the young artist produced portraits of his friends, painted in a manner starkly different than that which he was instructed. It was also during this defiant turning point in style that Zeng lived near a hospital, where he witnessed throngs of patients being brought into and out of emergency care. These scenes gave way to his seminal Hospital and Meat series, which were filled with gaunt figures and sanguineous bodies. Shocking though these were, these early pieces prefigured Zeng’s later works, and gave birth to a signature style that gradually became the artist’s early icons: morbidly engorged hands, mangled and bloated figures, unblinking glares, and bright, crimson flesh.

    Zeng Fanzhi moved to Beijing in 1993, and his relocation to the sprawling metropolis drastically affected him. The artist grappled with the unfamiliarity of the new city, and was startled by his daily interactions with strangers: ‘In the mid-’90s, China was transforming very fast…Chinese officials started wearing suits and ties…Everybody wanted to look good, but it also looked a bit fake.’ (Zeng Fanzhi, quoted in Sonia Kolesnikov-Jessop, 'Zeng Fanzhi: Amid change, the Art of Isolation', New York Times, May 3, 2007) Incredulous to the 'fake' personalities around him, Zeng painted face masks onto the figures in his paintings as metaphors for their duplicity: ‘I felt they wanted to change themselves on the surface, and these are the feelings that I represented in the earlier Mask series. Later on, the series used more vibrant colors; I think it makes people look even more fake, as if they are posing on a stage.’ (Ibid.)

    Trauma, painted in 2007, is a piece that departs from the Hospital, Meat, and Mask series, but is a work that aptly captures the thematic and stylistic concerns of all three of these eminent bodies of work. Trauma greets the viewer with a towering figure in a vibrant blue suit, who stares seemingly nonchalantly into the distance; and yet, his enlarged hands and quivering pink flesh perhaps betray an underlying terseness or nervousness. The man’s smeared face—a departure from the Mask works but nonetheless still a veil—partially conceals the figure’s features, and is deliberately discomforting, offering us no respite from the work’s titular trauma. During the 2000s, Zeng experimented with a new technique of dragging a palette knife across his canvases, creating patterns similar to traditional Chinese brushwork. This evocation of traditional Chinese paintings can be seen in the smeared face of the figure, as well as in the unknown shape to the figure’s left, recalling at once a Chinese literati rock, or a lattice structure of sorts. These unknown calligraphic markings cup the figure’s lower body, as if blending into him, and serve as much as a background as a direct correlation to gashes or wounds themselves—fittingly corresponding with the work’s title, as well as Zeng’s previous series. Entitled Trauma, the work boldly captures Zeng’s preoccupations with the frailty of the human condition, and is a spectacular piece that is the culmination of almost two decades of the artist’s artistic development.

  • Catalogue Essay

    曾梵志於1980年代就讀湖北美術學院,接受蘇維埃社會主義和現實主義藝術訓練,但他自己則卻更偏好表現主義藝術,在私下努力學習,鑽研尚•杜布菲和威廉‧德‧庫寧等人的西方表現主義藝術。曾梵志後來為友人畫像的筆法極具表現張力,與學院教授的方法大相徑庭,便是受德‧庫寧影響不小。曾梵志在這段開始反抗舊貫常規的重要轉折期住在一間醫院附近,經常面對大群被抬入抬出急診的病患,這些場景啟發他創作了充斥憔悴血淋身體的《〈協和醫院》〉和《〈肉聯》〉系列,令人觸目驚心。這些早期作品預示了其往後創作路線, 而畫中腫脹的雙手、包扎臃腫的身體、木然眼神和鮮紅血肉也成為其早期創作的標誌。

    曾梵志於1993年搬到北京,突然置身巨大都市,對他影響不小。他掙扎於對新城市的陌生感,驚覺自己每天都在跟陌生人打交道,「在九十年代中期,中國變化非常快… 官員開始穿西裝、打領帶… 每個人都希望光鮮體面,但卻有點虛假做作。」(曾梵志,錄於 Sonia Kolesnikov-Jessop,〈Zeng Fanzhi: Amid change, the Art of Isolation〉,紐約時報,2007年5月3日)曾梵志頗為質疑身邊的這些「虛假」人性,因此畫出戴面具的人物,代表他們的表裡不一,「我覺得他們只想在外表上改變自己,所以我把這種感覺在早期的《〈面具》〉系列中表達了出來,後來,這個系列出現了更鮮艷的顏色,令人物顯得更為虛假,就像在台上裝模作樣。」(同上)

    《創傷》是其2007年的作品,走出了《〈協和醫院》〉、《〈肉聯》〉和《〈面具》〉系列,但卻巧妙地囊括了這三個重要系列的主題精神和藝術風格。《創傷》中穿鮮藍色西裝的高大人物默然注視遠方,但他碩大的雙手和顫抖的粉紅肉色透露出其內心的空虛與焦慮。男子污跡斑斑的臉龐雖與《〈面具》〉作品不同,但仍是一層面罩,隱約遮住他的五官,故意製造不安,讓我們直接面對題目中的創傷,無處可逃。在2000年代,曾梵志嘗試了一種新筆法,用調色刀拖過畫布,形成類似傳統國畫筆觸的效果。畫中人物的臉龐就運用了這種畫法,而他左邊的造形既像文人賞石,又像是一個格子結構。如書法般的筆畫籠罩人物的下半身,像是融入他的身體,既是背景,也直接指向創口和傷疤,與此畫題目和曾梵志過往的系列都息息相關。《創傷》體現曾梵志對脆弱人性狀態的關注,是他近二十年藝術道路的積累與領悟。

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27

Property of an Important European Collector

Trauma

2007
signed and dated 'Zeng Fanzhi 2007 [in Chinese]' lower right
oil on canvas
220.4 x 150 cm. (86 3/4 x 59 in.)
Painted in 2007.

Estimate
HK$6,200,000 - 9,500,000 
€746,000-1,140,000
$795,000-1,220,000

sold for HK$6,680,000

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20th Century & Contemporary Art & Design Evening Sale

Hong Kong Auction 27 November 2016