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Lot. 495

TOYA Shigeo
( b.1947 , Japan )

Title
WETLAND
Technique
wood, acrylic
Sign
signed, titled and dated on the bottom "一九八九年 湿地帯 戸谷成雄"
Size
h59.0×w95.3×d24.6 cm
Year
1989
Provenance
acquired from Japan
Condition
"Typical cracks of wood are found.
※For details, please check up on Online Catalogue."
Estimation
JPY : 800,000 - 1,300,000 No Reserve / 無底價
( HKD 57,000 - 93,000 )  ( USD 7,400 - 12,000 )

Start Price
JPY : 400,000

howtobuy

Price Realized
JPY : 494,500
Shigeo Toya is one of the leading contemporary sculptors in Japan and Asia who has published a large number of works with his rare view of sculpture. Using a chainsaw, the work which gives a self-reliant and independent sculpture with a boundary and "fold" relief creates intricate designs in primeval-like form. He is opening up the possibilities of sculpture in Japan and Asia. This work titled “Swamp” can be seen as if something is roaming in its deeper part, and it seems to appeal to the sense of being expressed as a "boundary." Toya expresses that the surface of a sculpture shows the "boundary" of two areas: what is visible and invisible. It is a work that invites deep thought to the world view created by Toya's sculpture.
Born in Nagano Prefecture in 1947, Toya is currently working vigorously in his atelier in Chichibu City, Saitama Prefecture. After completing the Aichi Prefectural University of Arts graduate school sculpture major in 1975, from the latter half of the 1970s to the early 1980s, he worked on series such as "exposing <>" and "temporary <>". There are other famous series, "Mori" series, which is also a life work since 1984, "Boundary" series from 1994, "Minimal Baroque" series from around 2000. He mainly produces sculptures made by cutting wood with a chainsaw.
"Mori" became a central structural concept for recognizing the world and modeling it as a sculpture to Toya. Till now, the "line of sight" that raises the level of sculpture and the "fold" which is folded on the surface of the sculpture are famous. While someone questioning the concept, he shows the thrilling structural relationship that occurs on the ground and the underground world, the "boundary" and both sides of it, and develops a rich cosmology about the "Mori".
In addition, post-minimalism, the reconstruction of "sculptures" dismantled after the Mono-ha and the exploration of new possibilities, Toya's work is the concept presented by the artist while presenting the definition and structure of sculpture as a framework. It also addresses issues such as "surface," "boundary," "relationship," "shadow," and "presence."
Having experienced the transition of modern sculpture from the 1960s to the 1980s, Toya brought back sculpture from the world of conception, sought a clue to the history of its original sense, and sought a way to reproduce it by hands. "Isn't it because the consciousness that people really feel that there is nothing when they are there?" "How do we make the invisible sculpture exist as a re-visible world?" Toya's question goes beyond modern sculpture and has a profound spread to the problem of the fundamental recognition of human existence from ancient times.
Toya, who has consistently pursued the principle of sculpture and its structure, has been active in international exhibitions such as 43rd Venice Biennale in 1988, Gwangju Biennale Asia Award in 2000, solo exhibition of “Vision of Mori” at Hiroshima City Museum of Contemporary Art in 1995, solo exhibition “Mori no Fuda” in Aichi Prefectural Museum of Art in 2003, “Cave Memory” in Vangi Sculpture Garden Museum in 2011-2012 and other international exhibitions. It is highly praised in the world for its unique works that have participated in a large number and pursued the possibility of non-Western sculpture.It also has an aspect as an activist, such as organizing a biennale led by the artist as a counter for the current state of art with strong commercialism.


Commentaries stated in online catalogue are just for participants' reference, the pictures and explanations of the lots (artist, year, size, weight, materials, color, technique, provenance, condition, title, damage, and restorations) are not to subject representation of facts but rather subjective statements of opinions held by Est-Ouest.
We therefore do not accept any cancellation based on the statements provided from the online catalogue.
As a matter of fact, the items that we introduce in the auction is not brand new, specifically the antique works are on the premise that aging degradation and used-damage might be appeared.
For those who wish to purchase, we would highly recommend to examine the items in person and make judgement by yourself at the auction preview.
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