Artist: Wentao Li (b.1967) Chinese Title: Paper Crane (2005) Medium: oil on canvas Size: 115 x 80cm (45 x 31in) Signature: signed middle left & dated 18th Febuary 2005 Provenance: Bought directly from the artist in November 2005 at the Grand Marche d'Art Contemporian de Bastille 2005. Private Collection More info: Click to read more about this lot Chinese artist Li Wentaos work is theatrical. Its not just the way the artist stages the lone character, a young, fragile woman, always barefoot, always in some state of undress. Clearly somethings on her mind. Its the way we identify with her, just as we identify with, become invested in, a plays protagonist. Its easy to conflate the artist and subject. The woman looks out a window, off to the side, at the viewer. We cant describe, much less identify, her expression. Pensive, wary, frightened? Or does she share some quiet secret, some personal conspiracy? In any event, she doesnt wear her face-the-world face. We dont know her story but we want to. We want to keep looking at the work, hoping for some resolution of whatever situation shes in. The colors say one thing, the lines say another. The blues and browns, whites and pinks are mute. Moody and contemplative. Like her. The lines are sinuous and languorous. If roused, she would no doubt smolder. Li creates space that gives us no hint about the womans life. The walls look like blurred maps. Windows as well as doors that open onto doors suggest some other space, some other world. What it is or what it represents, we have no clue. All we know is, sprightly as she may be, this young woman commands the space that surrounds her.
Artist: Wentao Li (b.1967) Chinese Title: Paper Crane (2005) Medium: oil on canvas Size: 115 x 80cm (45 x 31in) Signature: signed middle left & dated 18th Febuary 2005 Provenance: Bought directly from the artist in November 2005 at the Grand Marche d'Art Contemporian de Bastille 2005. Private Collection More info: Click to read more about this lot Chinese artist Li Wentaos work is theatrical. Its not just the way the artist stages the lone character, a young, fragile woman, always barefoot, always in some state of undress. Clearly somethings on her mind. Its the way we identify with her, just as we identify with, become invested in, a plays protagonist. Its easy to conflate the artist and subject. The woman looks out a window, off to the side, at the viewer. We cant describe, much less identify, her expression. Pensive, wary, frightened? Or does she share some quiet secret, some personal conspiracy? In any event, she doesnt wear her face-the-world face. We dont know her story but we want to. We want to keep looking at the work, hoping for some resolution of whatever situation shes in. The colors say one thing, the lines say another. The blues and browns, whites and pinks are mute. Moody and contemplative. Like her. The lines are sinuous and languorous. If roused, she would no doubt smolder. Li creates space that gives us no hint about the womans life. The walls look like blurred maps. Windows as well as doors that open onto doors suggest some other space, some other world. What it is or what it represents, we have no clue. All we know is, sprightly as she may be, this young woman commands the space that surrounds her.
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