楊少斌 無題 油畫畫布 畫框 二OO七年作

款識
Yang Shaobin, 2007

美國私人收藏

This work is generally in good condition. There are two main areas of craquelures on either side of the blue face at the top centre. Around the face and on their nose, there are sporadic fine hairline paint separations. 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."

身為一位藝術家，楊少斌深受無數政治發展的影響。 他不再專注於自我存在的微觀小宇宙，反之，他所關心的議題是全球性的宏觀世界。在這個階段，他對西方當代藝術逐漸產生認同，試圖於其中尋找藝術主張相同的代表性人物。 楊少斌相信文化共生：「 我的觀點是，藝術中的文化共融與關係交流是同等重要的。它是一種相互依存的鏈結，彼此互相包含。」

在當代藝術史脈絡中，楊少斌發現 了許多藝術家，他們的藝術觀察有著同樣的擔憂與焦慮，並使用相近似的表現手法。 比如佛朗西斯· 培根筆下扭曲變形的人物，引出了人生中個人及政治層面無止盡的爭鬥，並陳述人類平庸陳腐及日常暴力的殘缺斷片。