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Chunya Zhou (b. 1955)
This Lot has been sourced from overseas. When au… Read more
Chunya Zhou (b. 1955)

I am Kahn (profile portrait of Kahn)

Details
Chunya Zhou (b. 1955)
I am Kahn (profile portrait of Kahn)
signed Zhou Chunya in Chinese and Pinyin, dated '2007' (lower right); signed 'Zhou Chunya' in Chinese, titled and dated 'June 2007' (on the reverse)
oil on canvas
150 x 120 cm. (59 1/16 x 47 3/16 in.)
Painted in 2007
Literature
Time Zone 8, Zhou Chunya, Beijing, China, 2010 (illustrated, p. 313)
Special notice

This Lot has been sourced from overseas. When auctioned, such property will remain under “bond” with the applicable import customs duties and taxes being deferred unless and until the property is brought into free circulation in the PRC. Prospective buyers are reminded that after paying for such lots in full and cleared funds, if they wish to import the lots into the PRC, they will be responsible for and will have to pay the applicable import customs duties and taxes. The rates of import customs duty and tax are based on the value of the goods and the relevant customs regulations and classifications in force at the time of import.

Lot Essay

Zhou began working on his signature Green Dog series starting in 1997, inspired by his beloved German shepherd dog, Hagen. The series, endearingly referred to as 'sculptures on canvas,' is a beautiful embodiment of quality, colour, silhouette and brushwork.

In I am Kahn (profile portrait of Kahn), Zhou Chunya resorts to rubbing, scraping, and curvilinear brushwork to outline the green dog. The dense twist of strokes fill the piece with 'rhythmic rise and fall.' Eschewing the blank background technique, Zhou places the green dog against a pure white background to heighten colour expressiveness, and give sculptural dimension to the composition. This is not unlike the creative process of Minimalist sculpture, in which a monochrome background was often applied to enhance viewer impression.

The genitalia of the green dog is painted bright red to highlight the animal's primal nature. Zhou is fascinated by the purity and primeval strengths of the animal. He outlines the form of the dog with Realistic, simple brushstrokes and sharp, bright colours, so that the work becomes a visual extension of Realism. It acknowledges the canines as men's best friend, and their primitive bestiality.

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