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拍品專文
In 1952, Walasse Ting traveled to Paris, and met the anti-formalist CoBrA group of artists, including Karel Appel, Asger Jorn, Pierre Alechinsky and Corneille. In 1958, he traveled to New York and become friends with American abstract expressionist Sam Francis. In the 1970s, Ting's work reverted from abstraction to Eastern-style freehand paintings. His semi-figurative paintings take mostly women and flower motifs as their subjects, while his unique style grew out of his use of bright colors and the suggestion of ink-wash styles.
In Ting's Spring in My Eyes, dating from 1986, the subject's face is half hidden, while the artist's excellent control of colour is displayed everywhere in the painting, from his choice of bright, beautiful hues to the subject's shy expression. The complex dots of colour on the work's surface derive from the influence of abstract expressionism on the artist in the 1960s. That decade was the heyday of abstract expressionism in the US, even as pop art was beginning to take shape, and Ting lets his paint drip and splash on the canvas, replacing plain ink with vivid colours to realize a series of works in an abstract expressionist style.
The frank naturalness Walasse Ting's painting, its ease and abandon, imbues his work with a style all its own. Each of his works represents an abundance of feeling pouring from the bottom of his heart in an attempt to express creative ideas in his gorgeous and ebullient manner. His Untitled shows the artist adopting ideas from the ancient genre of Shinu Tu, depicting the sweet feminine charm of his subjects as he abstractly constructs their figures out of large, gorgeous blocks of colour in a freehand style. In this untitled work, Ting pursues extravagant sensory stimulation through rich colour, while at the same time portraying what are really frankly erotic figures with a sense of grace and artful modesty.
In Ting's Spring in My Eyes, dating from 1986, the subject's face is half hidden, while the artist's excellent control of colour is displayed everywhere in the painting, from his choice of bright, beautiful hues to the subject's shy expression. The complex dots of colour on the work's surface derive from the influence of abstract expressionism on the artist in the 1960s. That decade was the heyday of abstract expressionism in the US, even as pop art was beginning to take shape, and Ting lets his paint drip and splash on the canvas, replacing plain ink with vivid colours to realize a series of works in an abstract expressionist style.
The frank naturalness Walasse Ting's painting, its ease and abandon, imbues his work with a style all its own. Each of his works represents an abundance of feeling pouring from the bottom of his heart in an attempt to express creative ideas in his gorgeous and ebullient manner. His Untitled shows the artist adopting ideas from the ancient genre of Shinu Tu, depicting the sweet feminine charm of his subjects as he abstractly constructs their figures out of large, gorgeous blocks of colour in a freehand style. In this untitled work, Ting pursues extravagant sensory stimulation through rich colour, while at the same time portraying what are really frankly erotic figures with a sense of grace and artful modesty.