Peng Si

signed in pinyin and dated 2006.7; signed in Chinese, titled and dated 2006.7 on the reverse

Private Asian Collection

This work is in very good condition overall. There is evidence of very slight scattered blue accretions across the surface of the painting, presumably inherent to the artist's working method. There is no evidence of restoration under UV.
"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."

Born in 1980 and admitted to the China Central Academy of Fine Arts in 2000, the post-80s artist Peng Si stands out from his peer with the maturity and originality in his art. As Curtis Carter, First President of International Association of Aesthetics as well as Professor of Aesthetics of Marquette University, said:

"His paintings do allow for differentiation of recognizable shapes within the paintings. But the  recognizable shapes in Peng Si paintings, figures and landscapes, are the pictorial conventions of representation that he employs to merge Western and Chinese painting. These conventions need not be endowed with references beyond the types of pictorial means employed in the creation of the paintings. In this respect, the portrait figures and the landscape compositions in Peng Si's paintings retain their independence from references outside the pictures in which they function. The emphasis is on their identity within the compositional practices employed in creating the art. Still, they can be understood as metaphors capable of evoking associative memories and feelings in the experiences of the viewers."