The Fine Art & Collectibles Sale
Lot 45:
Description
Signed (lower right and verso)
Image Dimensions: 28 3/8 x 36 in (72 x 91.5 cm)
This lot is accompanied by a consignor-provided COA or related documentation, offered as received.
Lee Ufan, a central figure of the Mono-ha movement, developed a philosophical approach to painting that emphasizes presence, repetition, and the relationship between mark and void. His works are less about representation and more about the encounter between gesture, space, and perception.
This composition presents a structured grid field punctuated by repeated blue rectangular marks. The surface is organized with precision, yet the individual marks retain subtle variations, revealing the human hand within a system of repetition.
The composition is governed by rhythm and interval. The grid provides a stable framework, while the blue marks appear in measured sequences, creating a visual cadence across the surface. The spacing between marks is as significant as the marks themselves.
Color is restrained and deliberate. The soft, neutral ground contrasts with the vivid blue accents, allowing each mark to emerge with clarity. The limited palette reinforces the meditative quality of the work.
Lee Ufan’s technique is minimal yet deeply intentional. Each mark appears to be applied with controlled pressure, often fading or varying in density. This modulation introduces a temporal dimension, suggesting the act of painting unfolding over time.
The work emphasizes the relationship between presence and absence. The painted marks occupy the space, while the unpainted areas create breathing room, establishing a balance between material and emptiness.
The repetition is not mechanical but contemplative. Slight inconsistencies in form and intensity prevent uniformity, maintaining a sense of vitality within the structure.
Lee Ufan’s works are held in major institutions such as the Guggenheim Museum, the Centre Pompidou, and the National Museum of Modern Art in Tokyo. His paintings from the 1970s are particularly significant, representing the maturity of his conceptual language.
In a spatial context, this composition offers quiet strength. Its restrained structure and subtle variation allow it to integrate seamlessly into refined contemporary environments while maintaining a strong conceptual presence.
Ultimately, this work exemplifies Lee Ufan’s philosophy of painting as a dialogue between mark and space, where repetition, restraint, and variation converge into a contemplative visual experience.
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