Unpremeditated Trraces No.01, 2018
Hong Zhenyu  

Painting : mixed media · 180 x 180 x 4 cm 70.9 x 70.9 x 1.6 inch · Ready to hang

€40,000 40 000 €

One of the last works available by this artist

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Shipped from: France

Delivery to: Germany , € 292

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed, ready to hang

with stretcher frame

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

180 x 180 x 4 cm 70.9 x 70.9 x 1.6 inch Height x Width x Depth

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Description

This artwork presents a compelling grid of nine squares, each encapsulating a dynamic interplay of color and texture. Dominating the composition is a rich, earthy backdrop that contrasts sharply with vibrant strokes of red in each square. The red elements appear fluid and expressive, suggesting movement and energy. Meticulously woven lines interconnect some squares, adding a sense of rhythm and continuity. The vivid red against the muted background creates a striking optical tension, pulling the viewer into the depth of each individual square while maintaining a cohesive overall structure. The artwork's innovative use of color and form makes it a captivating exploration of contrast and harmony.

Abstract

Abstract art

Red

Hong Zhenyu, Unpremeditated Trraces No.01

Hong Zhenyu

China  • 1982

Presentation

Hong Zhenyu is a Chinese artist born in 1982 who lives and works in Beijing, China. He was graduated from the Academy of Arts & Design, Tsinghua University. In 2007, he became member of the Chinese Society of Arts and Crafts. Devoted to lacquer and mixed-media practices, he demonstrates a rare precocity and singular dedication in his mastery of traditional craftsmanship. Whether in the layered polishing of lacquer surfaces or the intricate inlay of eggshell, mother-of-pearl, and precious metals—far surpasses the attainments typical of his generation, approaching an almost instinctual virtuosity. Yet he refuses to rest on technical display alone, actively situating his practice within multiple contexts of contemporary art: cross-media experimentation allows his work to migrate fluidly between painting, sculpture, installation, and object-making; meanwhile, his appropriation of readymades, interrogation of temporality and materiality, and exploration of contemporary reinterpretations of Eastern aesthetics liberate the ancient medium from its traditional constraints of functionality and ornamentation, perpetually opening it toward the conceptual, the critical, and the experimental. Tradition, for him, serves simultaneously as deep-rooted foundation and as subject for continual re-examination, deconstruction, and reconstruction.

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