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Lot Essay
Appearance of Crosses, a series that Ding Yi completed in the 80's, was inspired by the calibration marks used in printing industry. Ding made skillful use of the X's and Y's to truthfully express his creative point-of-view. He has established a name for himself in the contemporary Chinese abstract art scene with his streamlined, avant-garde style.
Appearance of Crosses: 2000 - 4 was created on tartan plaids, an industrial-purpose fabric, and painted with acrylic, to create the series' crisscrossed bands. The resulting geometric patterns are playful and winsome. The gradations of verdant greens set off squares after squares of pattern, not unlike the enchanting terraced fields.
Ding seeks to explore the expressive variations of geometric patterns and colours with this collection. This pursuit puts Ding in the same league as Minimalist artist, Frank Stella, who strived after clean, unique, yet dynamic visuals in his pieces. The asymmetrical compositions and strong colours challenge the viewer to surrender to the allures of abstraction while balancing for a fulcrum in the composition.
The superimposed crosses, bright colours and geometric patterns construct the seemingly simple - yet subtly complex - composition, to punctuate Ding's interpretation of Rationalism. The miniature crosses are molecules, the basis of all organisms. They act as the teeny but common patterns we see in nature: fun variations can still be detected despite their repeated appearance around us. Under Ding's practiced touch, they rebuild, dissolve, and regroup, enticing the viewer into an otherworldly art realm.
Appearance of Crosses: 2000 - 4 was created on tartan plaids, an industrial-purpose fabric, and painted with acrylic, to create the series' crisscrossed bands. The resulting geometric patterns are playful and winsome. The gradations of verdant greens set off squares after squares of pattern, not unlike the enchanting terraced fields.
Ding seeks to explore the expressive variations of geometric patterns and colours with this collection. This pursuit puts Ding in the same league as Minimalist artist, Frank Stella, who strived after clean, unique, yet dynamic visuals in his pieces. The asymmetrical compositions and strong colours challenge the viewer to surrender to the allures of abstraction while balancing for a fulcrum in the composition.
The superimposed crosses, bright colours and geometric patterns construct the seemingly simple - yet subtly complex - composition, to punctuate Ding's interpretation of Rationalism. The miniature crosses are molecules, the basis of all organisms. They act as the teeny but common patterns we see in nature: fun variations can still be detected despite their repeated appearance around us. Under Ding's practiced touch, they rebuild, dissolve, and regroup, enticing the viewer into an otherworldly art realm.