- 36
Jia Aili
Description
- Jia Aili
- Untitled (man with a helmet)
- signed
- oil on canvas
- 50 by 40cm; 19 5/8 by 15 3/4 in.
- Executed in 2012.
Provenance
Acquired directly from the above by the present owner
Exhibited
Literature
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The Chinese helmet jars slightly with Aili’s mode of depiction: the work is completed in oils, with the deft bravura style of the most skilled painters of the Western canon. The use of single brushstrokes to articulate reflections and delineate shadows suggests a confidence in the medium that reveals the artist’s classical training in the Luxun Academy of Fine Arts. This contrast is surely another reference to Aili’s generation and their position in Chinese history. The fading red star on the crest of the high-tech helmet is microcosmic of the way the socialist values of Aili’s forebears gave way to increasing Chinese emphasis on technological progress.
In his use of the helmet, Aili precludes any interaction between viewer and sitter. It is common for the figures in Aili’s works to have their faces hidden by masks, but here the artist takes it one step further in covering the figure’s visor with a conspicuously tied on cloth. This may make reference to China’s censorship laws, or simply further emphasise the introspective solitude of the one-child generation. In any case, it heralds this work as a prime example of the themes and motifs that have characterised Aili’s oeuvre and elevated his works to the level they have reached today.