Lot 74
76 x 57 cm; 112 x 90 cm (with frame)
acrylic on paper
signed lower right
Provenance: acquired from Case Galleries, Kuala Lumpur in 1996
尤素夫·甘尼《面具 二》1996年作 亚克力 纸本
款识：YUSOF GHANI（右下）
来源：1996年购自吉隆坡凯斯画廊
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Notes:
“Making beautiful paintings never brought me any satisfaction. Art has to mean more than that. It has to push man to think about life, humanity, our conduct…”
Yusof Ghani masterfully composed vibrant and energetic hues from a broad spectrum of the colour field in these two lots – from deep amber, yellow, green to blue. The balance of warm and cool tones is starkly delineated with powerful, expressive strokes in whites and blacks, creating an evocative energy with dynamic movements.
Created in 1996, these paintings are part of his “Topeng” (Mask) series inspired by Yusof Ghani’s trip to Sarawak in 1988 and 1991, where he became fascinated with the masks from the rituals and cultures of Kenyah and Kayan communities. With gestural brushstrokes, he abstracts his studies of these masks into subtle impressions of facial features, through which he questions how humans portray multiple facets and identities. Although deriving from a local subject matter, “Topeng” is rendered in an abstract expressionist style akin to “action painting” that characterises the works of masters Willem de Kooning and Jackson Pollock.
This Western influence is attributed to his studies at George Mason University, Virginia where he not only became acquainted with the works of American painters but also participated in social movements as seen through his series of “protest paintings.” These works situate among his diverse explorations spanning Tari (1984-1993), Topeng (1992-1996), Wayang (1996-1998), Hijau (1999-2002), Segerak (2003-2006), Biring (2006-2007), Wajah (2007-2009), and Ombak (2008-2014) that mark his return from the States in 1984. As a renowned figure in Malaysia’s modern art, Yusof Ghani exemplifies the symbolic harmony of local cultural awareness with global artistic movements through his deeply evocative masterpieces.
「创作美丽的绘画从未给我带来任何满足感。艺术必须具有更深远的意义，它应当促使人们思考生命、人性，以及我们的行为……」
在这两幅作品中，尤素夫·甘尼（Yusof Ghani）巧妙地运用了丰富且充满活力的色彩，涵盖从深琥珀色、黄色、绿色到蓝色的广阔色域。冷暖色调的平衡通过黑白之间强烈而富有表现力的笔触得以清晰呈现，营造出一种充满张力与动感的情感能量。
创作于1996年的这些作品，属于他的 “Topeng”（面具）系列，灵感来源于尤素夫·甘尼在1988年和1991年前往砂拉越的旅行。期间他对肯雅（Kenyah）和卡扬（Kayan）族群的仪式与文化中使用的面具产生了浓厚兴趣。通过富有表现力的笔触，他将对这些面具的研究抽象为人物面部特征的微妙印象，借此探讨人类如何展现多重身份与面貌。尽管源于地方文化题材，“Topeng” 系列采用了类似于“行动绘画”（Action Painting）的抽象表现主义风格，这一风格也正是威廉·德·库宁（Willem de Kooning）与杰克逊·波洛克（Jackson Pollock）等艺术大师作品的特征。
这种西方影响可追溯至他在美国弗吉尼亚州乔治·梅森大学（George Mason University）的求学经历，期间他不仅深入了解了美国画家的创作风格，还积极参与社会运动，这一点在他的“抗议绘画” 系列中得以体现。该系列与他从美国归来后的多元艺术探索一脉相承，涵盖了《Tari》（1984-1993）、《Topeng》（1992-1996）、《Wayang》（1996-1998）、《Hijau》（1999-2002）、《Segerak》（2003-2006）、《Biring》（2006-2007）、《Wajah》（2007-2009）及《Ombak》（2008-2014）等系列作品。作为马来西亚现代艺术的杰出代表人物，尤素夫·甘尼通过他深具情感力量的艺术作品，成功展现了本土文化意识与全球艺术潮流之间的象征性融合。 - Condition: This work overall is in good condition. No sign of restoration and retouching on this work. The work is framed.
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