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拍品专文
"My memory is made up of fragments that I want to put into a state of continuity" (George Condo as quoted in George Condo: Lost Civilization, exh. cat., Paris, 2009).
George Condo is equally fluent in the virtuosic techniques of the Old Masters as he is in the abstract language of modern art, which serve equally as sources of inspiration for a body of work encompassing a spectacular variety of subjects and styles. As such Condo's art is characterized by simultaneous tendencies towards abstraction and figuration, challenging the visual language of Abstract Expressionism. That Condo has chosen in Dispersed Figures to re-appropriate De Kooning's abstract syntax is not to say that he is content merely to emulate the latter's style. While being a very self-conscious allusion to the art-historical past, this simultaneous assimilation of figuration and abstraction, in its execution takes on its own distinctive, emancipated meaning. The artist himself states: "Representational Pictures are the artist's body but abstractions are pictures of the artists mind" (George Condo: Mental States, exh. cat., New York, 2011, p. 24).
In the present painting there is a sense of unrest in this turbulent web of lines and spattered colors, creating shifting forms which infuse the composition with energy-an energy indicative of the act of painting itself. Indeed, the assertive sweeping brushstrokes which delineate these strange, ambiguously human forms, specifically recall De Kooning's seminal Woman series from the 1950's, allowing for a synthesis of abstraction and figuration within a single composition. Using abstract visual language as a way of destabilizing the figurative elements of the composition adds an element of depth and expressivity of which Dispersed Figures is evidence.
George Condo is equally fluent in the virtuosic techniques of the Old Masters as he is in the abstract language of modern art, which serve equally as sources of inspiration for a body of work encompassing a spectacular variety of subjects and styles. As such Condo's art is characterized by simultaneous tendencies towards abstraction and figuration, challenging the visual language of Abstract Expressionism. That Condo has chosen in Dispersed Figures to re-appropriate De Kooning's abstract syntax is not to say that he is content merely to emulate the latter's style. While being a very self-conscious allusion to the art-historical past, this simultaneous assimilation of figuration and abstraction, in its execution takes on its own distinctive, emancipated meaning. The artist himself states: "Representational Pictures are the artist's body but abstractions are pictures of the artists mind" (George Condo: Mental States, exh. cat., New York, 2011, p. 24).
In the present painting there is a sense of unrest in this turbulent web of lines and spattered colors, creating shifting forms which infuse the composition with energy-an energy indicative of the act of painting itself. Indeed, the assertive sweeping brushstrokes which delineate these strange, ambiguously human forms, specifically recall De Kooning's seminal Woman series from the 1950's, allowing for a synthesis of abstraction and figuration within a single composition. Using abstract visual language as a way of destabilizing the figurative elements of the composition adds an element of depth and expressivity of which Dispersed Figures is evidence.