Naturallacquer, Leaving Traces No.01, 2019
Hong Zhenyu  

Painting : mixed media · 180 x 488 x 5 cm 70.9 x 192.1 x 2 inch

$77,985 77 985 $US

One of the last works available by this artist

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Shipped from: France

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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

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 488 x 5 cm 70.9 x 192.1 x 2 inch Height x Width x Depth

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Description

This artwork presents a striking visual symphony of vertical, flowing forms against a dark, textured background. Each column exudes a unique hue, transitioning seamlessly through a vibrant spectrum from fiery red to deep black. Bold and sinuous, the forms appear almost three-dimensional, suggesting movement and energy as if they were living flame or streaming silk. The juxtaposition of the bright colors against the muted backdrop creates a powerful contrast, enhancing the drama and depth of the image. The precision in the execution of each form's undulating path is noteworthy, as is the meticulous gradation within each color band. This sophisticated interplay between color and form showcases the artist's mastery in invoking emotion and the illusion of motion through simplicity and elegance. It invites viewers into a contemplative exploration of color dynamics and fluidity.

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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