 |
|||||||||
 |
 |
 |
 |
 |
 |
SG003 Online Catalogue |
The Regent Singapore 2nd May 2010 |
| Lots | |||||
Lot 31 |
|
 |
|
YANG NA 楊納 GOLD-COINED HIBERNATION 带着金币的冬眠 Acrylic on Canvas 压克力画布 150 × 150 cm
|
|
Estimate: |
SGD$ 22,000 – 30,000 USD$ 15,800 – 21,500 |
| Literature: | Yang Na 杨纳, Art Seasons季节画廊, Beijing, 2008, colourplate 1 |
| Yang Na is a young Chinese artist whose work falls into a category commonly referred to as “Animamix”, a term originally coined by curator Victoria Lu. A combination of the words “animation” and “comics”, Animamix describes an aesthetic unique to a group of young 21st century artists. These artists are heavily influenced by the culture and taste associated with animation and comics as well as other contemporary global influences such as mass media and computer games. Possibly the most defining characteristic of Animamix is the recurring theme of youth, sexuality and ideal beauty. Animamix artists such as Yang Na generally shy away from overtly social or political messages, preferring a more introspective approach to their work. With a single glance at Yang Na’s paintings, the heavy influence that modern mass media and consumption has on her work is readily apparent. The young woman she paints, said to be her alter ego Na Na, is like a caricatures of the “ideal woman” propagated by the media and popular youth culture. Na Na appears cosmetically enhanced, replete with false eyelashes and nails, heavily made-up eyes and pouting lips smothered in glossy red lipstick. Often draped in glittering jewelry, her neck is pencil thin and her heads appears proportionality huge compared to her skeletal body. This hyper-sexualized image of a young woman may be Yang Na’s attempt to underline the contradictions of modern day “female perfection”. The present lot, executed in a vivid color scheme, bears all the hallmarks of Yang Na’s work. Her young alter-ego appears to be swaddled in a thick blanket so that we are unable to see any of her features bar her face and hands. Her false eyelashes are drooping and she appears ill at ease, sweating profusely through her thick cocoon-like layers. It is not clear whether this unusual getup is part of a punishing beauty regime or if Na Na is simply unwell, but the artist appears to draw our attention to the vulnerability of her alter ego, perhaps in an attempt to expose what lies beneath the contrived facade. |
|
 |
 |
