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Lot Essay
Yoshitomo Nara predominately worked with illustrations in the early stage of his career. He began to explore genres of fine art in the 1980s after studying in the Kunstakademie Düsseldorf, Germany. Europe was in the midst of a rising wave of neo-expressionism that focused on treatments of heavy brushwork and contorted shapes; Nara thus began demonstrating similar aesthetics during this period, working with pronounced shapes and forms and vibrant colours. His brushwork gradually became more delicate and smooth in the 1990s. With colours that are warmer and visually gentler, rich layers and subtle variations are perceived upon closer inspection, with his paintings on canvas showcasing exceptional notable features.
Pyromaniac (Lot 101) thoroughly demonstrates the virtuosic brushwork of this period. The lines are brisk and nimble, and the choice of colours is rich in layers. This is a rare sample of diptych by Yoshitomo Nara. Although it is a work on paper, the high degree of finish is comparable to his paintings. The modelling of the figure completely abandons the restraints of objective depiction. The artist also deliberately treated the face, facial features, body, and background in a simple manner, seeking to create the sense of playfulness found in Western modern art through the use of geometric shapes.
The word Pyromaniac is brightly featured on the right panel, and it refers to the arsonist on the left. Although the child on the other panel does not display any violent behaviours, the look in his eyes are filled with hostility. Similar to many characters in Nara’s paintings, they are defiant despite their demure stature. When an adorable figure is paired with such a violent word and the high contrast colours of orange and black, a dramatic effect is archived. Not only does it evoke sympathy towards the protagonist, it also provoke the viewer to reflect on the causal relationship between minorities and extremism.
Pyromaniac (Lot 101) thoroughly demonstrates the virtuosic brushwork of this period. The lines are brisk and nimble, and the choice of colours is rich in layers. This is a rare sample of diptych by Yoshitomo Nara. Although it is a work on paper, the high degree of finish is comparable to his paintings. The modelling of the figure completely abandons the restraints of objective depiction. The artist also deliberately treated the face, facial features, body, and background in a simple manner, seeking to create the sense of playfulness found in Western modern art through the use of geometric shapes.
The word Pyromaniac is brightly featured on the right panel, and it refers to the arsonist on the left. Although the child on the other panel does not display any violent behaviours, the look in his eyes are filled with hostility. Similar to many characters in Nara’s paintings, they are defiant despite their demure stature. When an adorable figure is paired with such a violent word and the high contrast colours of orange and black, a dramatic effect is archived. Not only does it evoke sympathy towards the protagonist, it also provoke the viewer to reflect on the causal relationship between minorities and extremism.