H eralded internationally for his poetic visual vocabulary, Swisse-born, New York-based artist Ugo Rondinone’s Green Yellow Red Blue Mountain is part of his signature Mountains series, culminating with his monumental installation Seven Magic Mountains located in the Nevada desert. The present lot encapsulates his distinctive use of colour and material, a test.mes nt to his mastery in intertwining sculptural and painterly traditions as he reflects upon a playful duality.

Rondinone’s artistic practice reverberates with his deep appreciation in what he calls "primitive materials”, and their captivating raw and mystic allure. His vertically stacked rock assemblages weave together a t.mes less tapestry of historical influences; the preserved authentic, unrefined textures of rocks bridge the realms between the ancient geological formations of Hoodoos (spires of rock formed by erosion and weathering over t.mes ), and the revered human act of meditative rock stacking. For Rondinone, “the stone figure is something universal, you see it in every culture. It’s completely t.mes less” (the artist, quoted in Holly Black, “Why Ugo Rondinone is Revisiting His Colourful Magic Mountain Sculptures”, AnOther Magazine, 24 October 2018)- his assemblages are more than mere sculptures, but vessels that carry the weight of t.mes and history, transcending cultural contexts and forging a dialogue between human endeavours and the eternal natural world. In their archaic, towering intensity, Rondinone’s modern megaliths demonstrate that there is an ephemeral instinct to feel awed and inspired in the presence of nature and its materials; like the quiet power of Stonehenge or the Pyramids of Giza, it is this instinct that connects us to the universe beyond. This dynamism between the organic and the artifice echoes as a bright azure blue, scarlet red, electric yellow and green palette illuminate the stones. Neon colours of modernity and the urban landscape clash with the organic matter of the Mountains; Rondinone’s transformative brush awakens the dormant energy within mundane rocks.

Another theme emerges within Rondinone's artistic exploration — the interplay between the temporal and the eternal. Suspended in mid-air, the meticulously arranged rock composition defies gravity; their ethereal, fragile balance defying the laws of nature, enduring as delicate, silent witnesses to the passage of t.mes while seemingly teetering on the edge of monumentality and collapse. In this paradoxical sense of t.mes , we find a profound metaphor for the human experience: a reminder of our own tenuous existence, poised between the fleeting and the t.mes less, the transient and the enduring.

出 生於瑞士的紐約藝術家烏戈・龍迪諾內，以充滿詩意的視覺詞匯聞名於世。《綠黃紅藍山》是其招牌作品《山》系列的一部分，該系列的巔峰之作為內華達沙漠中的巨型裝置《七魔山》。此作展現了他獨特的色彩與材料運用，以及融和雕塑與繪畫傳統的精湛技藝，同時亦反映了他對趣味二元性的思考。

龍迪諾內的藝術實踐，體現了他對所謂的「原始材料」衷心欣賞，及其引人入勝的原始神秘魅力。他用垂直堆疊的岩石裝置，編織出一幅跨越歷史的永恆圖騰；岩石保留了其那真實、未經加工的紋理，成為連接古老的地質形態——（經過長時間侵蝕和風化而形成的）岩石尖頂，以及廣受推崇的疊石冥想，兩者之間的一道橋樑。對龍迪諾內而言：「石像非常普遍，可見於每種文化。他們完全超越了時間，是永恆的存在。」（Holly Black，〈Why Ugo Rondinone is Revisiting His Colourful Magic Mountain Sculptures〉，《AnOther Magazine》雜誌，2018 年 10 月 24 日）。他的組合作品不僅是雕塑，更是承載著時間和歷史的重量，超越了文化語境，為人類的努力與永恆的自然界之間建立對話。龍迪諾內創造的現代巨石古樸、高聳，展示了人類在大自然及其材質面前，會感到短暫敬畏和鼓舞——這種瞬間即逝的本能。就如我們能感到巨石陣或吉薩金字塔散發安靜而强大的力量，正是這種本能讓我們得以連結上超越自身的無垠宇宙。在此作中，石頭被飾以鮮活明亮的湛藍、猩紅、電黃與亮綠，代表著有機與人工材料的相互交織；只能在現代社會和城市找到的霓虹，與《山》系列中的有機物質發生碰撞。龍迪諾內透過其畫筆，喚醒了這塊平凡岩石，引發出蘊藏當中, 伺機而動的巨大能量。

龍迪諾內的藝術探索亦包含另一主題——時間與永恆的相互作用。精心堆疊的岩石挑戰重力，懸浮在半空中；其空靈、脆弱的平衡違反了自然法則，作為時間流逝的沉默見證，同時似乎在不朽和崩潰的邊緣搖搖欲墜。在這種矛盾的時間觀中，我們找到了一種深刻的人生隱喻：它提醒著我們自身，那處於瞬息和永恆、短暫和持久之間的脆弱存在。