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TRANSFORM 12

Lot No. 1282
Artist: Xue Feng (b.1973)

Series: China Guardian HK 2016 Autumn Auctions
Session: 20th Century and Contemporary Chinese Art
Size: 150 x 200 cm
Dynasty: People's Republic of China (1949-)
Estimate: HKD 100,000-150,000
Price Realized: HKD 118,000

Painted in 2011;Oil on Canvas;Signed in Chinese and Pingyin, titled, inscribed and dated on the reverse;XUE FENG(b.1973)Xue Feng - To ‘transform’ painting‘Xue Feng’s Transform series started in 2011, and is the representative series during the formation of his individual style. On each of these works, there is a skirting line at the bottom of the painting, which is parallel to the canvas, creating a narrow, horizontal space, as well as a wall that is almost sighing. All the imageries of painting, just when the gaze falls upon it, is back to the surface. This is how Xue, an artist who is superb at painting, starts his interrogation to painting.As a new artist, Xue has never been conforming. He is a shrewd painter, but not willing to settle for the accomplishment painting already enjoys at academic level, i.e. ‘permanence of painting’. Therefore, he seems to have compromised and chosen a path to find a breakthrough to painting through painting, and to let painting extend to the infinity or break into it in a rash. Only in this way, in today’s global context, can a painter keep his mind independent and find the motivation to breakthrough in his own creations. Xue’s attempt is somewhat a transformation of painting, as well as that of the painter-painting relationship. Transform series is the start of such a process.’-Excerpt from Xue Feng’s Transform series by Xu ChengIn Transform-12, the brushstrokes on the ‘wall’ of the painting do not form any distinguishable images, but only a space that is ever changing. The vibrant colours and changing forms show a desire to extend to the infinity. However, with the frame in front of the wall, the existence of the wall is blatantly announced. ‘This way, the expectation of the space created by the brushstroke is completely denied: There is no space, but just a wall. Xue seems to be mocking the brushstrokes, or depicting the sigh of the brushstrokes extending on a large canvas.’

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