PAN DEHAI (China, B. 1956)
THE BREAKING DAWN: EARLY CHINESE CONTEMPORARY ART - THE JOHNSON CHANG COLLECTION
PAN DEHAI (China, B. 1956)

The Corn Series: Wanted No. 4

Details
PAN DEHAI (China, B. 1956)
The Corn Series: Wanted No. 4
signed 'Pan De Hai' in Pinyin; dated '1992' (lower right); inscribed '170 x 200 cm.' (on the reverse)
acrylic on canvas
200 x 170 cm. (78 3/4 x 66 7/8 in.)
Painted in 1992

15% of the hammer price of this lot will be donated to Moonchu Foundation
Provenance
Acquired directly from the artist by the present owner
Literature
Asian Art Archive, China's New Art, Post-1989, Hong Kong, 2001 (illustrated, p. 129).
Poly Art Museum; & Triumph Art Space, Pan Dehai, Beijing, China, 2007 (details illustrated, p. 79).
Exhibited
Hong Kong, Hong Kong Arts Centre; & Hong Kong City Hall, China's New Art, Post-1989, 30 January-28 February 1993.
Sydney, Australia, Museum of Contemporary Art, Mao Goes Pop, 2 June-15 August 1993.
Melbourne, Australia, Melbourne Arts Festival, China's New Art, Post-1989, Summer 1993.
Vancouver, Canada, Vancouver Art Gallery, China's New Art, Post-1989, 12 April-28 May 1995.
Eugene, USA, University of Oregon Art Museum, China's New Art, Post-1989, 17 December 1995-28 February 1996.
Fort Wayne, USA, Fort Wayne Museum of Art, China's New Art, Post-1989, 23 March-11 May 1996.
Salina, USA, Salina Arts Centre, China's New Art, Post-1989, 14 March-11 May 1997.
Chicago, USA, Chicago Cultural Centre, China's New Art, Post-1989, 7 June-8 August 1997.
San Jose, USA, San Jose Museum of Art, China's New Art, Post-1989, 2 September-2 November 1997.

Brought to you by

Eric Chang
Eric Chang

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Lot Essay

The Corn Series: Wanted No. 4 (Lot 154) is a classic work that belongs to Pan Dehai's Corn series. Grains of corns in various sizes are configured at the center of the painting to form the figure. The intensely repeated pattern eliminates the natural appearance and properties of corn – it has become the medium and painting tools of the artist. Visually, the different configurations of corn are often read as mysterious, fantastic, complicated, and sometimes even incomprehensible. This is precisely what the artist is attempting to explore – the fundamental properties of image. The black intersecting lines cross the torso of the figure. Between what is apparent and what is obscured, within nature and humanity, the artist has discovered his unique visual language.
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