Wei Liu (b. 1965)
This Lot has been sourced from overseas. When au… Read more
Wei Liu (b. 1965)

You Like Me? Why Not!

Details
Wei Liu (b. 1965)
You Like Me? Why Not!
signed 'Liu Wei' in Pinyin & Chinese; dated 1996' (upper middle)
oil on canvas
30 x 40 cm. (11 9/16 x 15 3/4 in.)
Painted in 1996
Provenance
Schoeni Art Gallery, Hong Kong, China
Private Collection, Los Angeles, USA
Phillips de Pury & Company New York, 16 November 2007, Lot 290
Private Collection, New York, USA
Special Notice
This Lot has been sourced from overseas. When auctioned, such property will remain under “bond” with the applicable import customs duties and taxes being deferred unless and until the property is brought into free circulation in the PRC. Prospective buyers are reminded that after paying for such lots in full and cleared funds, if they wish to import the lots into the PRC, they will be responsible for and will have to pay the applicable import customs duties and taxes. The rates of import customs duty and tax are based on the value of the goods and the relevant customs regulations and classifications in force at the time of import.

Lot Essay

Do You like me? (Lot 35), created in 1996, is a unique representative works of the earlier Expressionism of Liu Wei. The large, twisted face of a man is placed almost in the center of the canvas, painted in exaggerated, explosive strokes. The elusive background may be a landscape, and what appears to be flowers and the chaotic results of an explosion are scattered around. With a big face, thick neck, uneven warty cheeks, small eyes and tetracycline-stained teeth, the figure does not have a likable visage. But he happens to be a clown and blurts out straightforwardly: "do you like me" the serious and profound themes of the picture are dissolved by the artist into a typical "dalliance" in Beijing Hutong. We are wondering whether the artist was "fooling people" or maybe "fooling around with himself". The sense of boredom evoked by painting and the nails hammered into the frames create a strong contrast. The inability and loss the artist feels in reality can perhaps only be vented physically by mechanical movement of is body, as expressed by those nails.

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