Lalan (Xie Jinglan)

Acquired directly from the artist by the present European owner

This work is in excellent condition. There is evidence of two light blue accretions along the left edge, 114 cm and 94 cm from the bottom edge. There is one black accretion at the top right corner of the work. 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."

Calligraphy, not dissimilar to dance, was of process of heightened spiritual awareness and cathartic expression. What Lalan did in Sans titre was to illustrate how the two complement each other as different forms of artistic production. In Sans titre, Lalan's abstract painterly had put forward a dance routine performed on canvas. Having received education and training from the Shanghai Conservatory of Music, Hangzhou Art School and also a student of Edgar Varése, Lalan was extremely accomplished in dance and contemporary music. It was also for that reason that she began her career as an artist with abstract art. Lalan's brushstrokes were swift with elegance; every line was like a flexing limb or a trembling muscle. They leapt, they dived, they twirled; the composition was splattered with delightful energy. One could almost read the painting as a contemporary music score and hear the percussion of clashing pigments with the piercing echo of wilderness. On top of the touches of calligraphy, Lalan had also applied splashing and smudging techniques to enhance the dynamic spiritual realm of the painting. Displayed before the beholder, Sans titre was a mountain of paint sculpted from poetry. Considering from Lalan's perspective, the painting had surpassed the mere depiction of natural landscape or spiritual manifestation. The process of creation itself was a form of performing arts and the completed piece of work acted as a visual record of the entire artistic journey.