Naturallacquer, Leaving No Trrace No.01, 2018
Hong Zhenyu  

Painting : mixed media · 122 x 384 x 4 cm 48 x 151.2 x 1.6 inch · Ready to hang

€51,000 51 000 €

One of the last works available by this artist

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Shipped from: France

Delivery to: Spain , € 412

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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 )

122 x 384 x 4 cm 48 x 151.2 x 1.6 inch Height x Width x Depth

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Vetted seller since 2015

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Description

Mixed Media with Lacquer on Wood Panel

This artwork features an intriguing composition that merges abstract and surreal elements, capturing the viewer's imagination. It presents a vast, tunnel-like perspective with dark, textured walls converging toward a luminous horizon. The distant view, enveloped in ethereal light, creates a sense of infinite depth, drawing the eye into a mysterious, otherworldly landscape. The interplay between light and shadow is skillfully executed, enhancing the spatial illusion. The central opening reveals a cloudy sky, its soft hues contrasting against the foreboding darkness of the surrounding walls. This juxtaposition of color and form challenges perception, inviting contemplation on themes of confinement and freedom. The piece's geometric precision combined with its atmospheric quality showcases a masterful balance between structure and chaos, making it a compelling study of spatial dynamics and existential contemplation.

Abstract

Geometric

Lines

Beige

Black

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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