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Auction archive: Lot number 21

Lee Ufan

Estimate
HK$4,000,000 - HK$6,000,000
ca. US$509,580 - US$764,370
Price realised:
n. a.
Auction archive: Lot number 21

Lee Ufan

Estimate
HK$4,000,000 - HK$6,000,000
ca. US$509,580 - US$764,370
Price realised:
n. a.
Beschreibung:

Lee Ufan (Korean, born 1936), 李禹煥 From Point No.770108 1977 signed; signed and titled on the reverse; signed and titled in Japanese on the stretcher mineral pigment and glue on canvas 130 x 162.3 cm (51 3/16 x 63 7/8 in) Fußnoten Provenance Private Collection, Korea Acquired directly from the above by the present owner 李禹煥 從點770108號 礦物顏料 膠水畫布 1977年作 簽名:L.UFAN 77 背面簽名: From point (in paris) No.770108, Lee Ufan 背面木架簽名: 点より 七七〇一〇八 李禹煥 パリにて 來源 韓國私人收藏 現藏家直接得自上述收藏 From Point No. 770108 comes from Lee Ufan's early seminal series, From Point, an important body of works that spanned from 1972 to 1984, which along with his From Line series, led Lee to gain international recognition as one of Korea's most important contemporary artists. Born in 1936, Lee received formal training during the height of the Korean War, studying at the College of Fine Arts in Seoul in 1956, and moved to Japan shortly after to complete his studies in Philosophy at Nihon University. Having lived in France, Japan, and Korea, Lee has exhibited extensively throughout his career, including a monumental retrospective at the Guggenheim Museum in New York in 2011. A philosopher as well as an artist, Lee published leading articles on aesthetics and contemporary art that are fundamentally driven by a desire for spiritual reconciliation amidst political unrest in the region. He is an influential figure of Dansaekwa ("monochrome" painting) in Korea, and a key-theorist of the Mono-Ha movement ("The School of Things") in Japan, which are two of the most important post-war art developments in Asia. In his works, Lee emphasizes the concept of "onceness," relativity between medium, materials and space, viewing his creative process as a meditative act of self-cultivation. Works from Lee's From Point series are characterized by the use of a cobalt blue ground pigment mixed with animal-skin glue. The artist once described his choice of colors and mineral pigments as "purified substances" that lead our vision to a more essential world. In the present work, Lee consciously loads his brush with the pigment mixture once and dabs vertically, then moves along horizontally from left to right, continually without layering until the color has exhausted into an infinite end on the canvas. Lee repeats the action four times, each touch revealing a unique pattern, highlighting the power of a single brushstroke in the passage of time. The canvas is a vital part of the painting, in which it brings the pigment to life, then allows the color to gradually disappear, suggesting a transition from existence to non-existence that translates into infinite harmonious cycle. The seriality and repetition of mark-making draws connections to the monochromatic works of American painter Robert Ryman In a similar awareness to materiality, Ryman used various combinations of paint and binding support to experiment with each work's texture, temperature, and thickness. Through covering and uncovering the support with layers of paint, Ryman distills his gestures into a thoughtful and orderly manner. In Lee's oeuvre, his repetition is rooted in what is essentially a philosophical and spiritual practice, which traces back to his early education in East Asian ink brushwork, heavily versed in Daoist and Buddhist principles about the existence of oneself against the cosmos. Interested in the interrelationship between object and space, Lee once stated "when the white space on a canvas is made to vibrate by the slight touch of a brush using a refined technique, people can perceive it as the real nature of painting. Paintings without a frame take on a relationship with the wall, and painterly reverberations spread out from them into the surrounding space." The present work becomes a continuous dialogue from one point to another, in accordance and resonance with the surrounding natural surface of the canvas. Encapsulating Lee's fundamental intention to express infinity as a concept of repetition with unlimited variations

Auction archive: Lot number 21
Auction:
Datum:
27 May 2019
Auction house:
Bonhams London
Hong Kong, Admiralty Suite 2001, One Pacific Place 88 Queensway, Admiralty Hong Kong Tel: +852 2918 4321 Fax : +852 2918 4320 hongkong@bonhams.com
Beschreibung:

Lee Ufan (Korean, born 1936), 李禹煥 From Point No.770108 1977 signed; signed and titled on the reverse; signed and titled in Japanese on the stretcher mineral pigment and glue on canvas 130 x 162.3 cm (51 3/16 x 63 7/8 in) Fußnoten Provenance Private Collection, Korea Acquired directly from the above by the present owner 李禹煥 從點770108號 礦物顏料 膠水畫布 1977年作 簽名:L.UFAN 77 背面簽名: From point (in paris) No.770108, Lee Ufan 背面木架簽名: 点より 七七〇一〇八 李禹煥 パリにて 來源 韓國私人收藏 現藏家直接得自上述收藏 From Point No. 770108 comes from Lee Ufan's early seminal series, From Point, an important body of works that spanned from 1972 to 1984, which along with his From Line series, led Lee to gain international recognition as one of Korea's most important contemporary artists. Born in 1936, Lee received formal training during the height of the Korean War, studying at the College of Fine Arts in Seoul in 1956, and moved to Japan shortly after to complete his studies in Philosophy at Nihon University. Having lived in France, Japan, and Korea, Lee has exhibited extensively throughout his career, including a monumental retrospective at the Guggenheim Museum in New York in 2011. A philosopher as well as an artist, Lee published leading articles on aesthetics and contemporary art that are fundamentally driven by a desire for spiritual reconciliation amidst political unrest in the region. He is an influential figure of Dansaekwa ("monochrome" painting) in Korea, and a key-theorist of the Mono-Ha movement ("The School of Things") in Japan, which are two of the most important post-war art developments in Asia. In his works, Lee emphasizes the concept of "onceness," relativity between medium, materials and space, viewing his creative process as a meditative act of self-cultivation. Works from Lee's From Point series are characterized by the use of a cobalt blue ground pigment mixed with animal-skin glue. The artist once described his choice of colors and mineral pigments as "purified substances" that lead our vision to a more essential world. In the present work, Lee consciously loads his brush with the pigment mixture once and dabs vertically, then moves along horizontally from left to right, continually without layering until the color has exhausted into an infinite end on the canvas. Lee repeats the action four times, each touch revealing a unique pattern, highlighting the power of a single brushstroke in the passage of time. The canvas is a vital part of the painting, in which it brings the pigment to life, then allows the color to gradually disappear, suggesting a transition from existence to non-existence that translates into infinite harmonious cycle. The seriality and repetition of mark-making draws connections to the monochromatic works of American painter Robert Ryman In a similar awareness to materiality, Ryman used various combinations of paint and binding support to experiment with each work's texture, temperature, and thickness. Through covering and uncovering the support with layers of paint, Ryman distills his gestures into a thoughtful and orderly manner. In Lee's oeuvre, his repetition is rooted in what is essentially a philosophical and spiritual practice, which traces back to his early education in East Asian ink brushwork, heavily versed in Daoist and Buddhist principles about the existence of oneself against the cosmos. Interested in the interrelationship between object and space, Lee once stated "when the white space on a canvas is made to vibrate by the slight touch of a brush using a refined technique, people can perceive it as the real nature of painting. Paintings without a frame take on a relationship with the wall, and painterly reverberations spread out from them into the surrounding space." The present work becomes a continuous dialogue from one point to another, in accordance and resonance with the surrounding natural surface of the canvas. Encapsulating Lee's fundamental intention to express infinity as a concept of repetition with unlimited variations

Auction archive: Lot number 21
Auction:
Datum:
27 May 2019
Auction house:
Bonhams London
Hong Kong, Admiralty Suite 2001, One Pacific Place 88 Queensway, Admiralty Hong Kong Tel: +852 2918 4321 Fax : +852 2918 4320 hongkong@bonhams.com
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