Lee Ufan (Korean, born 1936), 李禹煥With Winds No.8708-62
1987

signed and dated 87
oil paint and pigment on canvas

60.6 x 72.7 cm (23 7/8 x 28 5/8 in)注脚Provenance
Private Collection, Japan

李禹煥
隨風 No.8708-62
礦物顏料 膠水畫布
1987年作

簽名: L UFAN 87

來源
日本私人收藏

Born in 1936, Lee received formal training during the height of the Korean War, studying at the College of Fine Arts in Seoul in 1956, and moved to Japan shortly after to complete his studies in Philosophy at Nihon University. Having lived in France, Japan, and Korea, Lee has exhibited extensively throughout his career, including a monumental retrospective at the Guggenheim Museum in New York in 2011. A philosopher as well as an artist, Lee published leading articles on aesthetics and contemporary art that are fundamentally driven by a desire for spiritual reconciliation amidst political unrest in the region. He is an influential figure of Dansaekwa ("monochrome" painting) in Korea, and a key-theorist of the Mono-Ha movement ("The School of Things") in Japan, which are two of the most important post-war art developments in Asia. In his works, Lee emphasizes the concept of "onceness," relativity between medium, materials and space, viewing his creative process as a meditative act of self-cultivation.

In 1980, Lee moved to Kamakura, Japan with his family. He developed a new painting practice "From Winds" and "With Winds," as seen in the present lot. These series are characterized by a shift away from systematic application of paint in precise points and lines towards a free application of vibrant brushstrokes. The shift in style was ultimately a result of 'a great internal rupture" that Lee experienced in 1978, which influenced him to disrupt the regimentation of his earlier compositional structure. An apparent difference during this shift is the increase of gaps and empty space surrounding each line, in which each line meets the next as a symbol of free and gradual acceptance as a whole.

李禹煥生於1936年，於1956年韓國戰亂期間在首爾美術大學接受正規的美術教育。此後不久1961年搬到東京日本大學學習哲學。李禹煥曾居住於法國、日本與韓國，並在全世界的展歷輝煌，其中包含2011年於紐約古根漢美術館舉辦的大型回顧展。即便區域政治的不安定，身兼哲學家與藝術家雙重身份的李禹煥依然基於追求精神和諧的渴望，針對美學與當代藝術發表引領思潮的重要文章。他是影響韓國「單色畫」發展的重要人物，亦是日本「物派」的主要理論家，而「單色畫」與「物派」堪稱是亞洲戰後最重要的兩個藝術運動。對於創作，李禹煥強調即刻性的概念，以及媒介、材料和空間之間的相互關聯，並將其創作過程視為一種自我修練的冥思。

李禹煥1980年同家人搬到日本鎌倉市並開始了他新的創作系列——「始於風」與「隨風」。他的畫風由70年代重複整齊「始於點」和「始於線」，轉變為風一般鬆動的筆觸。本次拍品即為「隨風」系列。這個改變源自1978年李禹煥經歷的內在變動，引導他打破早期制式結構的標準，將線條之間的空間隨風自然交錯，身體和呼吸的節奏，帶領著每個筆觸自然流動的方向，每一個筆即為一個活體，並在畫布上產生互動關係。《隨風 No.8708-62》是李禹煥突破筆觸之間的界限，將線與線之間的距離與空間加大，但仍彼此相連，象徵自由和接納的精神境界。