Zao Wou-Ki

Collection Jacques Lacan, Paris (1962)
Transmis par descendance au propriétaire actuel

The colours are fairly accurate in the catalogue illustration although the background colours are less contrasted in the original and the purple areas are brighter in the original. Additionally, the image does not convey the richness of the impastos located in the center of the work. The work is executed on its original canvas, not relined. The canvas is slightly wavy in the lower right corner. Under UV light, there is no evidence of any retouching. This work is in excellent condition.
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Construite autour d’un axe horizontal tumultueux où mauves, bruns d’or et noirs s’enlèvent sur fond opalescent, 20.07.62 appartenait à Jacques Lacan, fondateur de la psychiatrie moderne.
Lacan et Zao-Wou Ki avaient noué une relation amicale. Dès le début des années 1960, Lacan avait ainsi pris l’habitude de rendre régulièrement visite à l'artiste dans l'atelier de la rue Jonquoy à Paris. Dans l’intimité de cet atelier, Lacan et Zao passaient de longs moments à discuter, à regarder et à commenter les toiles.
A la même époque, Lacan, également grand sinologue, partageait des séances de travail avec François Cheng, écrivain et calligraphe ami de Zao Wou-Ki. Essentiel à l’unité virtuelle du Yin et du Yang, le Vide médian était une question récurrente. Ils constatèrent que ce (troisième) souffle pouvait être d’une densité véhémente. Comme dans 20.07.62. Au centre de la toile, la gestuelle est alerte et dense. Les couleurs fusent. De part et d’autre, les blancs vibratoires s’équilibrent.
Dans la préface du catalogue de l’exposition des Galeries nationales du Grand Palais (1981), François Cheng fit justement observer « la place accordée aux vides médians qui impriment à la toile cette secrète mouvance hésitant entre être et non-être ».

Built around a stormy horizontal axis where mauves, golden browns and blacks rise up against a diffused white background, 20.07.62 belonged to Jacques Lacan, the founder of modern psychiatry.
Lacan and Zao Wou-Ki were friends. In the early 1960s, Lacan frequently visited the artist in his studio on the rue Jonquoy in Paris. In the intimacy of this studio, Lacan and Zao spent many hours talking, looking, and commenting the paintings.
At the same time Lacan, who was also a competent sinologue, shared work sessions with François Cheng, a writer and calligrapher friend of Zao Wou-Ki. The subject of the Median Void in Taoism, an essential feature to the virtual unity of Ying and Yang, was a recurring theme in their discussions. They noted that this third element could transform into a vehement density. This is the case in 20.07.62. At the centre of the canvas, the gestures are alert and dense. The colors fuse together. On each side, the vibrating whites balance each other.
In the foreword to Zao Wou-Ki exhibition catalogue at the Galeries nationales du Grand Palais (1981), François Cheng cleverly observed “the role attributed to the median voids that imprint the canvas with a secret, hesitant movement between being and non-being.”