一九八八年作
款識：Qiu Deshu；〔Rift〕〔CRACKS〕，Qiu Deshu，仇德樹，1988.8.，No. 12（作品背面）
鈐印：藝術家鈐印一方

直接購自藝術家
美國，Jean 及 Michael Micketti 珍藏

Overall in good condition. The art work has uneven edges inherent to the artist's collage process.Matt window is 110.5 by 178.5 cm; 43 1/2 by 70 1/4 in, covering edges of the full art work. Overall framed dimensions: 137.5 by 205.5 cm; 54⅛ by 80⅞ in.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

草草畫社：中國當代藝術里程碑

1980年「草草畫社」於上海舉行了首次展覽，雖不似幾乎同時期的北京首屆「星星美展」般廣為人知，但卻是中國當代藝術誕生與發展的重要里程碑。「草草畫社」由陳家泠（參見拍品523及546）與仇德樹共同創辦，上海首展即因帶有「抽象傾向」而被貶斥，而仇氏作為革新團體的領軍人物亦受到當時藝評界的抨擊譴責。然而次年上海美術館展出美國波士頓美術館藏傑克森·波拉克的抽象藝術作品，又為陳、仇及其他藝術家奠定了對抽象主義及水墨藝術創新的信心。此類早期作品共同呈現了中國歷史上甚為活躍的創作時期，創新的意識從閉塞中覺醒迸發，且尚未被市場所影♔響。

是次拍賣中兩幅仇德樹作品均為其1980年代具有跨越性的探索之作。1982年所作《空No.1》為對水墨媒介的大膽解構，並以殘章之印入畫，配以抽象潑墨盡現畫家揮毫過程。在中國繪畫傳統中，鈐印為畫家身份及自我的象徵，仇氏此作力求打破此文化傳統束縛。仇氏於1982年正式開創其「裂變」技法，將宣紙撕裂，著色，再拼貼成畫。 1988年作之《裂谷之十二》以交錯鮮明的色彩呈現好似抽象化的人ꦑ像，強烈的對比色由裂痕中沁出，猶如巨大能量的釋放。此種擬人化意象的運用為仇德樹藝術創新與🍨發展中最具代表性的元素。