Lot 821
  • 821

Ding Yi

Estimate
1,000,000 - 2,000,000 HKD
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Description

  • Ding Yi
  • Appearance of Crosses 93-18
  • charcoal and chalk on canvas
signed in Pinyin, titled in Chinese and dated 1993 on the reverse, framed

Provenance

Galerie Urs Meile, Lucerne
Private European Collection
Acquired by the present owner from the above

Condition

This work is in very good condition. No evidence of restoration under UV examination.
"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

Completed in 1993, Appearance of Crosses 93-18 is not only one of the rare and precious early pieces from the series, it was completed in a year with profound personal importance for the artist. It was that year that Ding Yi, along with fellow Chinese artists Zhang Xiaogang, Fang Lijun, Wang Guangyi, and others, were invited to participate in international exhibitions around the world, including the 45th Venice Biennale. At a time when other Chinese artists were receiving attention for their works tied to the political pop movement or the cultural revolution, Ding Yi’s Crosses series became the first representative of Chinese abstractionism. Although Ding Yi’s work on the Crosses series began as early as 1988, with the artist experimenting between the “x” and the cross, alternating and layering the two symbols, it was not until 1993 that the series became truly mature, expressing a language of abstractionism built out of different mediums, and fully displaying the myriad visual possibilities of the series. In the work Appearance of Crosses 93-18, black charcoal forms the fundamental background of the work, with red and blue crosses overlaying the backdrop, creating a vigorously expressive scene. Compared to the artist’s more orderly arrangements in later years, Appearance of Crosses 93-18 is a display of the artist’s early creative vitality and passion.