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Lee Ufan, With Winds, 1988
Lee Ufan, With Winds, 1988

Lee Ufan

With Winds, 1988
Stone gouache on canvas
73 x 60 cm
28 3/4 x 23 5/8 in
Copyright The Artist

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Jak vypadá na zdi
  • Jak vypadá na zdi
  • Jak vypadá na zdi
  • Jak vypadá na zdi
  • Jak vypadá na zdi
  • Jak vypadá na zdi
A pioneer of the Japanese Mono-ha (School of Things) movement, Lee Ufan arranges his installations and sculptures to emphasize the equal relationship between the artwork, the viewer, and the space,...
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A pioneer of the Japanese Mono-ha (School of Things) movement, Lee Ufan arranges his installations and sculptures to emphasize the equal relationship between the artwork, the viewer, and the space, a philosophy best illustrated by his “Relatum” series, a series of stretched canvases on the floor, each topped by a single stone. Ufan uses materials including glass, steel, rubber, and stones in shades that are usually subdued and often monochromatic. His paintings exhibit a similar logic, applying muted color on a light, plain background in a style reminiscent of East Asian calligraphy, whereby the brush stroke fades as it ends.
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Provenance

Sale: Mainichi, December 2007

Private collection, Seoul

Literature

PUBLIC NOTES

Lee Ufan is a minimalist painter, sculptor and academic born in Haman County, South Korea. Lee Ufan’s art, who has lived and worked in Japan since 1956, is deeply rooted in modern European phenomenology combined with an Eastern appreciation of the nature of materials. As the main theorist of Mono-ha (School of Things), Japan’s first internationally recognized contemporary art movement, Lee ufan advocates a method of rejecting Western notions of representation and emphasizing materials and interrelation between space and matter; a far cry from the Eurocentic practices of 1960s postwar Japan. He has been honoured by the government of Japan for his great contribution to contemporary art in Japan.
This piece is a vivid example of the artist’s seminal “Wind” series created throughout the 1980s, recognized by free and dynamic brushstrokes filling a deeply empty space. Exemplifying what the artist described as “the living composition of empty spaces”, With Winds stirs a rhythm and lyricism that examines the spatiotemporal relationships between the viewer and components.

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