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Lot Essay
SYMPHONY OF LIGHT AND SHADOW
Chaos Cristallin (Lot 399) from 1990 both clearly incorporated effects of light. In order to capture the fast-changing and fluid light, Chu created a translucent paint that rendered an ethereal brushstroke. Oil paint has never before been so feathery and impalpable. Coloured masses are light and tender, almost as if they were washes of ink on rice paper, dancing along the rhythm created by refractions of light. This is without a doubt one of the most influential achievements of Chu in the 20th century abstract art. In addition, Chu was deft at creating highlights with white. In 1983, Chu traveled to Beijing, Datong, Huangshan, Xishan, Hangzhou and Nanjing. The misty mountains in gauzy clouds unique to China's landscape inspired him. Thin and translucent paint surrounds the more dense masses, with light interlacing and reflecting. Imageries floating down, circulating, wandering around, we see through clouds the real, the fabled, the discernable and the intangible. In Chaos Cristallin, the artist skillfully adds on touches of feathery black and blue with a soft brush. The distinctive blue and green were applied to exhibit the complex and mutable relationship between light and shadow. Masses and lines of turquoise, mint green, navy blue and bright blue permeate into the deep earthy tone, with hints of yellow and red planes here and around, composing a symphony of light and shadow.
Chaos Cristallin (Lot 399) from 1990 both clearly incorporated effects of light. In order to capture the fast-changing and fluid light, Chu created a translucent paint that rendered an ethereal brushstroke. Oil paint has never before been so feathery and impalpable. Coloured masses are light and tender, almost as if they were washes of ink on rice paper, dancing along the rhythm created by refractions of light. This is without a doubt one of the most influential achievements of Chu in the 20th century abstract art. In addition, Chu was deft at creating highlights with white. In 1983, Chu traveled to Beijing, Datong, Huangshan, Xishan, Hangzhou and Nanjing. The misty mountains in gauzy clouds unique to China's landscape inspired him. Thin and translucent paint surrounds the more dense masses, with light interlacing and reflecting. Imageries floating down, circulating, wandering around, we see through clouds the real, the fabled, the discernable and the intangible. In Chaos Cristallin, the artist skillfully adds on touches of feathery black and blue with a soft brush. The distinctive blue and green were applied to exhibit the complex and mutable relationship between light and shadow. Masses and lines of turquoise, mint green, navy blue and bright blue permeate into the deep earthy tone, with hints of yellow and red planes here and around, composing a symphony of light and shadow.