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恋爱的犀牛 RHINOCEROS IN LOVE

艺术家 Artist: 吴琼 Wu Qiong

体积 Size : 48x14x35cm

媒介 Medium: 玻璃钢 Fiberglass

起拍价 ​Starting bid: $1800 SGD

拍卖结束 Bidding ends: 5 Dec 2021 (Sun) 11.59pm

拍卖结束。感谢支持!This bidding has ended. Thank you for your support!

关于艺术品 About the artwork:

这个迷人的雕塑描绘了坐在犀牛上的一对恋人和他们睡着了的猫。 这对恋人脸上的表情让人想起童年的纯真,他们深情握住的手体现了他们之间的亲密。吴琼的作品中常见恋人的主题。他们的关系暗示着一种保证、爱和希望,因为他们知道对方会一直在身边,支持他们度过人生的障碍,给予慰籍。犀牛的角上奇妙地长出一棵树,枝头开出灿烂的金色花朵。 犀牛是中国文化中的“八宝”之一,象征着幸福和抵御逆境。因此,这对恋人坐在这雄伟的动物上,象征着他们一起走向幸福生活的旅程,和充满美好的未来。

This charming sculpture depicts a couple and their sleeping cat, sitting on a rhinoceros. The expressions on the couple’s faces recalls the innocence of childhood and their intimacy is illustrated through their affectionately clasped hands. The motif of a couple is not unusual in Wu Qiong's works, and their relationship suggests one of assurance, love, and hope, as they take comfort in the knowledge that the other will always be present to support them through life’s obstacles. A tree whimsically grows from the rhinoceros’ tusk, with brilliant gold flowers blooming from the branches. The rhinoceros is one of the ‘Eight Precious Things’ in Chinese culture, symbolising happiness and protection against adversity, and thus the couple sitting on this majestic animal signifies the journey they are on together towards a joyful life filled with better things to come.

关于艺术家 About the artist:

吴琼于1981年出生在中国北京。2001年从北京师范大学毕业后,远渡重洋赴新加坡读书继续深造,2006年从南洋艺术学院毕业。是雕塑家,也是画家,吴琼创作的艺术代表了他和他那一代人记忆中的童年,并从中创造感人而有趣,在中国艺术界具当代性的童年肖像。 吴琼在国际和本地都享有盛誉,参加过各种国际艺术博览会,包括迈阿密艺术展、科隆艺术展和布里奇艺术博览会。

 

在他的艺术里,吴琼经常表现孩子们如何逐渐适应成人世界,但仍然明显地保持着童心; 暗示着我们心里某个部分永远不会放弃童年。 他的雕塑和画作人物,脸上天真无邪的表情进一步表现了这一概念,也是它们极具吸引力的重要元素。 有时,这些人物会随着脑海中的曲调前进,或者在蓬松的白云中腾空而起。 在其他时候,他们开始接受现实——这可能象征着艺术家——以及他伪装成儿童的另一个自我——已经意识到生活的真实面貌。

 

这些童话般,以赤裸或柔和的天空为背景的孩童形象,使他与其他当代艺术家区别开来。他的作品,让曾经是中国当代艺术特色的“政治压力释放”和对政治的不信任,像是上几代人的主题。或许正是这种对比,反映了他那一代人在经济上的飞跃。要批评中国现代变革、经济发展和自由化的推动者是很难的,但若要将吴琼的绘画描述为“赞颂”也太简单化了。事实上,他的风格与1960年代,表达反对北京文化霸权的政治立场的广东省“卡通”画很相似。在 21 世纪的中国,吴琼的作品与沉浸于漫画图像、网络游戏和电脑世界的一代卡通审美产生共鸣。吴琼指出,“这一代出生的艺术家被指责是肤浅文化的一部分——好像他们应该为没有经历前几代人的动荡和苦难而道歉。 ”没有一代人的生活是没有苦难的,吴琼的作品中存在着一种在幽默之上的热情现实主义。

 

在他近期的作品中,他的卡通形象比以前的表现更加成熟,放纵于一种对原型和主题的个人庆祝。 一代享有优势但却自我又愤怒的孩子,现在已成为国际名人的新宠。 也许吴琼的最新作品是在说他这一代人在享受着父母劳动成果的同时,也见证了中国在国际舞台上的崛起。

The artist's fairytale visions of childlike figures against stark backgrounds and pastel skies sets him apart from his contemporaries. His work makes 'political stress release' and cynicism, ideals which were once so characteristic of contemporary Chinese art, seem generations away. It is perhaps this contrast that reflects the economic leaps of his generation. It is difficult to criticize the agents of modern change in China, economic development and liberalization, but it is also too simple to describe Wu's paintings as celebrations. In fact, his style bears resemblance to the 'cartoon' painting of Guangdong Province in the 1960s, which expressed a political stand against Beijing's cultural hegemony. In 21st century China, Wu resonates with the cartoon aesthetic of a generation absorbed by comic imagery, online gaming and computer worlds. It may seem relatively idyllic, but as Wu points out, "the artists born of this generation have been accused of being part of a shallow culture - as though they should apologize for not having been born into the turmoil and chaos that previous generations suffered." No generation is without its hardships and there is a passionate realism in Wu's works that is present above the humour. 

In his more recent works, Qiong's cartoon form appears more mature than previous social representations, indulging in a personal celebration of archetype and subject. The limelight of a generation of privileged children that once expressed yells of frustration along with self-absorbed smiles has now been stolen by internationally renowned celebrities. Perhaps Wu's latest works are saying that his generation, as it has enjoyed the fruits of its parents' labours, has also seen China rise admirably onto the international stage.

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