王光樂

二〇一二年作

北京，北京公社
現藏者購自上述來源

荷蘭，鹿特丹，Witte de With現代藝術中心〈Dai Hanzhi: 5000 Artists〉二〇一四年

This work is in good condition with very minor craquelures to the extreme edges due to stretching. There are minor vertical drying cracks throughout which are only visible upon close inspection and pinpoint protrusions of impasto which are inherent to the artist's working method. When examined under ultraviolet light, there appears to be no evidence of restoration.
"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."

王光樂是中國當代能見度最高且最受矚目的七〇後藝術家之一，《120605》出自他的最新系列，該系列以觀念見長，美學風格獨特，是二〇〇四年起廣受讚譽的〈壽漆〉系列的延續。藝術家把壓克力彩按照事先計劃的嚴謹順序層層疊加，構圖極簡，卻創造出奇異的深度。他以儀式性的自律每天兩次在畫布上施加顏料，每個新的長方形均比之前的稍微要小，四邊向畫布中心集中，日積月累之下，畫布中央的顏料愈來愈厚，堆疊出雕塑般的立體感。作品把平緩的時間流逝轉換成純粹具體的圖像語彙，是福建壽棺傳統啟發下的產物，壽棺會每年上一次漆，直到老人壽終正寢為止。王光樂在當代藝壇迅速崛起，他在二〇〇〇年畢業於中央美術學院油畫系，是藝術團體N12裡舉足輕重的成員，該團體由學院的一群年輕藝術家組成，他們在二〇〇三年開始共同舉辦展覽。相較於其他七〇後藝術家，王光樂選擇了開闢屬於自己的道路，將藝術回歸至毫無雜質的圖形唯美主義，開創了新一代的繪畫觀念。