Chris Oh 克里斯·吴
Shattered 碎裂, 2024
acrylic on geode 紫晶洞上丙烯设色
10.8 x 13.3 x 10.8 cm
4 1/4 x 5 1/4 x 4 1/4 in
4 1/4 x 5 1/4 x 4 1/4 in
Further images
Shattered (2024) depicts a detail from Rogier van Der Weyden’s Descent from the Cross (c.1435). Painted on an amethyst geode, it shows the face of a woman consumed by grief....
Shattered (2024) depicts a detail from Rogier van Der Weyden’s Descent from the Cross (c.1435). Painted on an amethyst geode, it shows the face of a woman consumed by grief. Chaotic forces strain upon dimensions of anguish as crystalline tears stream down her face. She endures the tensity of her pain while aching for release, fracturing within a vortex of despair.
Chris Oh was born in 1982 in Portland, Oregon. Currently lives and works in Queens, NY.
Appropriation has long been understood as one of the defining practices of modern art. This art of the copy, however, is not limited to that which came after the age of reproduction. The conscious duplication of preexisting artworks is as present in Warhol as it is in Ovid’s reconfigurations of Virgil. The push and pull between homage and authorship is central to an artist forming their own language; and just as Rubens copied and contorted the work of Titian, Chris Oh co-opts masterpieces from the Western canon in order to forge his own singular oeuvre. Altogether, Oh’s work is a resurrection of art history. To view these delicate paintings is to see the artist recall some of the most sublime reflections on 15th and 16th - century life and use them as mirrors through which to observe our own moment in time. - Ariella Wollens
《碎裂》（2024）描绘了罗吉尔·凡·德尔·维登 (Rogier van Der Weyden) 于1435年左右所作的《下十字架》(Descent from the Cross, c.1435) 中的一个局部。紫晶洞上浮现出女性悲伤的面孔。当晶莹剔透的泪水沿着她的脸颊滑落，她承受着混乱力量的撕扯，渴望解脱却在绝望的漩涡中逐渐崩解碎裂。
克里斯·吴1982年出生于美国俄勒冈州波特兰市，现生活并工作于纽约。
长期以来，挪用被理解为现代艺术中的一种典型的创作方式。而这种复制的艺术并不仅出现于再生产时代之后。在安迪·沃霍尔的作品中，对现存艺术品的有意复制与古罗马诗人奥维德对维吉尔作品的重新解构交相呼应。致敬与原作权之间的纠葛常为艺术家在塑造自己语言时的主要博弈——就如鲁本斯对提香画作的复制与曲解那般，克里斯·吴从西方经典的杰作中取精用宏，以构建出属于他自己的作品观。整体上看，他的作品是对艺术史的复活。透过欣赏这些精细的画作，能洞悉到艺术家对15、16世纪生活最崇高的映照，它们同时也如镜子般反射着我们当下的瞬息。- Ariella Wollens
Chris Oh was born in 1982 in Portland, Oregon. Currently lives and works in Queens, NY.
Appropriation has long been understood as one of the defining practices of modern art. This art of the copy, however, is not limited to that which came after the age of reproduction. The conscious duplication of preexisting artworks is as present in Warhol as it is in Ovid’s reconfigurations of Virgil. The push and pull between homage and authorship is central to an artist forming their own language; and just as Rubens copied and contorted the work of Titian, Chris Oh co-opts masterpieces from the Western canon in order to forge his own singular oeuvre. Altogether, Oh’s work is a resurrection of art history. To view these delicate paintings is to see the artist recall some of the most sublime reflections on 15th and 16th - century life and use them as mirrors through which to observe our own moment in time. - Ariella Wollens
《碎裂》（2024）描绘了罗吉尔·凡·德尔·维登 (Rogier van Der Weyden) 于1435年左右所作的《下十字架》(Descent from the Cross, c.1435) 中的一个局部。紫晶洞上浮现出女性悲伤的面孔。当晶莹剔透的泪水沿着她的脸颊滑落，她承受着混乱力量的撕扯，渴望解脱却在绝望的漩涡中逐渐崩解碎裂。
克里斯·吴1982年出生于美国俄勒冈州波特兰市，现生活并工作于纽约。
长期以来，挪用被理解为现代艺术中的一种典型的创作方式。而这种复制的艺术并不仅出现于再生产时代之后。在安迪·沃霍尔的作品中，对现存艺术品的有意复制与古罗马诗人奥维德对维吉尔作品的重新解构交相呼应。致敬与原作权之间的纠葛常为艺术家在塑造自己语言时的主要博弈——就如鲁本斯对提香画作的复制与曲解那般，克里斯·吴从西方经典的杰作中取精用宏，以构建出属于他自己的作品观。整体上看，他的作品是对艺术史的复活。透过欣赏这些精细的画作，能洞悉到艺术家对15、16世纪生活最崇高的映照，它们同时也如镜子般反射着我们当下的瞬息。- Ariella Wollens
