.jpg?w=1)
拍品專文
The Plant displays Sigmar Polke's on-going fascination with the nature of representation, in the process revealing his extraordinary resourcefulness in the use of materials. Polke frequently borrows and reworks images from seemingly incompatible sources, and using disparate materials such as micaceous iron ore, felt, plastic sealant, dispersing agent, graphite, potassium chloride, silver and chromium oxide, various mineral powders, resins, and minerals.
The present painting shows Polke's use of Ben-day dots in rendering a palm tree, mimicing the effect of mechanical reproduction, very similar to Roy Lichtenstein's use of the same technique in his Pop paintings. However, Polke subverts the neutrality of mechanical reproduction and heightens the ambiguity of the image by obscuring the tree overall and varying the size of the ben-day dots. Furthermore, Polke is keenly interested in the alchemical properties of art and experimented with diverse materials to achieve this effect optically. Juxtaposed against the tree are light washes of color that occurred through chemical reactions. As such, Polke has transformed and elevated a banal image such as the palm tree into a viable artistic creation.
The present painting shows Polke's use of Ben-day dots in rendering a palm tree, mimicing the effect of mechanical reproduction, very similar to Roy Lichtenstein's use of the same technique in his Pop paintings. However, Polke subverts the neutrality of mechanical reproduction and heightens the ambiguity of the image by obscuring the tree overall and varying the size of the ben-day dots. Furthermore, Polke is keenly interested in the alchemical properties of art and experimented with diverse materials to achieve this effect optically. Juxtaposed against the tree are light washes of color that occurred through chemical reactions. As such, Polke has transformed and elevated a banal image such as the palm tree into a viable artistic creation.