LI QING (Chinese, B. 1980)
LI QING (Chinese, B. 1980)

Finding Differences: Bunnies and Their Idol Sister (There are 3 Differences in the Two Paintings)

Details
LI QING (Chinese, B. 1980)
Finding Differences: Bunnies and Their Idol Sister (There are 3 Differences in the Two Paintings)
right panel: signed and numbered 'II. Leo' in English; signed in Chinese; dated '2007.6' (lower right)
left panel: signed and numbered 'I. Leo' in English (lower left)
titled in Chinese; titled 'Bunnies and Their Idol Sister (There are 3 differences in the two paintings) (right) (left)' (respectively, on the reverse)
oil on canvas, diptych
each: 150 x 200 cm. (59 x 78 3/4 in.)
overall: 150 x 400 cm. (59 x 157 1/2 in.)
Painted in 2007 (2)
Literature
Iberia Center for Contemporary Art, Timezone 8 Limited, Ghosting: Li Qing 2005-2008, Beijing, China, 2008 (illustrated, pp. 80-81).

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Eric Chang

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Lot Essay

Li Qing, who graduated from China Academy of Art, created her work in 2007. Finding Differences: Bunnies and Their Idol Sister (There are 3 Differences in the Two Paintings) (Lot 579) is considered to be one of her most important series so far. The artist focused her attention on the events, characters and social phenomenon recognized by society. Then she materially applies her observations on the canvas, freezing the image as would do a photograph, allowing viewers to search for the differences between the two images. This is a game of pastime coming from the age of overspreading graphs and symbols. Viewers, at that time, will spend time lingering in front of the work unconsciously and discover the issue patiently. The social issues and human nature are both hidden behind the differences between the two works. It could also arouse the reflection towards individuals and their relation to insensitivity. Lu Peng, the art critic, said, 'Li's philosophy of art has added a more straightforward question at this stage: how to use a playful attitude to compete against the insensitive aesthetics and general concepts.'

Li, who pays attention to pictoriality, has deliberately blurred the viewers' concepts of art painting, and graphs and symbols of the games. She uses a rather 'slow' way to help us examine the age of high speed, and amiably explains the meaning and charm of art in simple languages.

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