丁乙

一九九三年作

琉森，麥勒畫廊
歐洲私人收藏
現藏者購自上述來源

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."

《十示》創作於一九九三年，不僅是該系列早期珍罕作品之中，一九九三年年對藝術家而言亦是相當重要的年份，當年，他與張曉剛、方力鈞及王廣義等，成為被邀參與國際展覽的中國藝術家，參加的群展包括「第45屆威尼斯雙年展」等，當其他藝術家以政治波普或文革感傷而受注目，丁乙〈十示〉系列成為中國抽象藝術第一代表。雖然早於一九八八年，丁乙已經開始創作〈十示〉系列，在「X」及「十」間轉換及重疊，但直至一九九三年年，丁乙的〈十示〉系列才更顯成熟，並於不同媒材之間建構此抽象語匯，充分體現〈十示〉系列視覺上的各種可能性。在《十示》中，黑色炭筆形成作品的基本面，上面配置著紅色及藍色的十示，形成充滿表現力的畫面，與後期工整構圖相比，《十示》展現著藝術家早期充滿力量及熱情的創作力。