YASMIN SISONYASMIN SISON (1972年生)膚色紅潤壓克力 畫布182 x 136.5 (71 7/8 x 53 3/4 in.)2008年作
亞洲 私人收藏
Human depiction can be seen in art as early as the Paleolithic age, the most famous of which was the 'Venus of Wineldorf'. Artistic dimensions of the human form highlight cultural values and societal attitudes toward gender, figurative art, and the relationship between humanity and the fundamental nature of knowledge, reality, and existence. Representations of the human body in art, whether identified as religious or secular, raise questions concerning structures of power, ideology, and identity. Artistic renderings and religious interpretations of the human body privilege it as a symbolic value and a political agent, especially during periods of protest against societal norms and definitions of gender as sexual identification. It is thus unsurprising that the human figure has been a subject of visual representation for artists seeking to explore the human condition through art over the decades, and has even developed into key tropes such as portraiture and the Nude, recognized in the canon of art history. This season, Christie's is pleased to present Figurative Visions: Contemporary Southeast Asian Art from an Important Asian Collection, a group of works that ask the questions: Where do we come from? What are we? Where are we going? The role and meaning of the human body incorporates a diverse range of cultural forces, including but not limited to art and religion. Different cultures and eras interpret the meaning and value of the human body in distinctive ways. Filipino artists Yasmin Sison, José Legaspi, Maya Mu?oz, and Don Salubayba obfuscate the faces of their subjects as a way to create a sense of surrealism to present various perspectives to create an dystopian world based on reality. In the Pink (Lot 455) comes from Sison's earlier series of effaced paintings which portrays teenage girls or young women, with their facial features - the stamp of their individuality - blotted out. Presented in tableaux of everyday situations against hyperreal backgrounds, the faceless girls enact the motions of going through life without clear orientation or psychological focus, creating a suspended state of animation.