Li Shan

signed in Chinese and Pinyin and dated 1995

Acquired directly from the artist by the present owner

This work is generally in good condition. There is a minor paint loss measuring around 1 cm in the middle area. Please note that it was not examined under ultraviolet light.
"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."

Li Shan’s most widely known work is that of his Rouge series, where he appropriates Mao Zedong’s face as hallmark. However, starting from the mid-nineties, the artist purposefully eludes the overly political interpretations of his works. During this time, he created 7 Days of the Week, a limited series typical of this political detachment. 7 Days of the Week, a group of seven paintings which were first exhibited at the São Paolo Biennial in 1994, manifests his important aesthetic transition from political figures towards animals. “Geese began to appear in my paintings because I wanted a simple motif. Because people have already given chickens, ducks, and other animals many metaphorical meanings and praise, I chose geese.” The meaning of this motif Li Shan has never discussed explicitly, but the work’s title 7 Days of the Week is suggestive. “Goose” is a homophone of “I”, hence acts as the artist’s metaphor for the entire Chinese people or even all humanity. The seven paintings in the group each represent one day of the week. A goose holds a lotus blossom in his mouth. Some compositions feature one goose, others a pair of geese, which may have their fronts or backs against each other. All the geese look almost identical. Their collective image seems to hint at the mundane, routine existence of most humans. After the Rouge series, Li Shan abandoned human figures in favour of animals, and even plants, and gradually searched for expressive space beyond the canvas. 7 Days of the Week is thus very important for the artist. The lot on offer comes from the same series of works exhibited at the São Paolo Biennial and is an important document of a major redirection in Li Shan’s creative career.