Bu sanat eserinin daha fazla fotoğrafını görmek isterseniz bize bildirin!
- işin arkası / işin tarafı
- Ayrıntılar / Imza / Sanat eserinin yüzeyi veya dokusu
- Durumdaki sanat eseri, Diğer...
Daha fazla bilgi
- paketleme (Ahşap Sandık) Bütün eserler, dikkatle korunan ve sigortalanmış, premium bir taşıyıcı ile gönderilir.
- İzleme Alıcıya teslimine kadar izleme Sipariş. Gerçek zamanlı olarak kargo takip edebilmeniz için bir takip numarası verilecektir.
- Zaman 3 ila 7 günde dünya çapında teslimat (Tahmin etmek)
- Gümrük dahil değildir Fiyata gümrük ücretleri dahil değildir. Çoğu ülkede orijinal sanat eserleri için ithalat vergisi yoktur, ancak indirimli KDV'yi ödemeniz gerekebilir. Gümrük ücretleri (varsa) varışta gümrük idaresi tarafından hesaplanacak ve taşıyıcı tarafından ayrıca fatura edilecektir.
Daha fazla bilgi
- İzlenebilir Online Orijinallik Sertifikası Orijinallik sertifikaları, sanat eserinin kodu taranarak herhangi bir zamanda çevrimiçi olarak doğrulanabilir.
- Belgelendirme değerlendirme sanatçı Uzmanlar bir sanatçının iş ve kariyer çalışma ardından, bağımsız ve güvenilir bir ortalama fiyat değeri kurmak. Ortalama fiyatı değeri belirli bir süre için bir fiyat aralığı sanatçı oturtuyor. Uzmanlar ayrıca, belirli bir iş için daha kesin bir tahmin kurulması istenebilir.
Daha fazla bilgi
SSL sertifikası ile% 100 güvenli ödeme + 3D Secure.
Daha fazla bilgi
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Orijinal sanat (One Of A Kind)
Kolaj,
Kâğıt tarihinde
Akrilik
/
Ahşap
/
Kil
/
Kolaj
- boyutlar Yükseklik 15,8in, Genişlik 22,1in
- Sanat eserinin durumu eser çok iyi durumda
- Çerçeveleme Bu resim çerçeveli değil
- Kategoriler Kolajlar $5.000'nun altında Gerçeküstücülük Ruhanilik
Wood Panel , Paper , Acrylic , Wood
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"Stir" is a term used in cocktail making, referring to the quiet act of mixing. Drawn to its subtle resonance, I began creating this series under its name.
On the surface of each work, names of planets and cocktail ingredients are drawn with the tip of the toe, mingling with footprints. By blending such seemingly unrelated elements—planets and cocktails—the series invites a kind of perceptual stirring, as if the layers of recognition themselves were being gently unsettled through the body.
This series was exhibited in the solo show In the Planet, Now (「惑星のなか、今」), where I was exploring the Japanese temporal concept of naka-ima—a moment suspended between past and future, where presence becomes vividly heightened.
When I’m able to fully inhabit this sense of naka-ima, the scenery before me remains unchanged, yet begins to feel strangely otherworldly. Familiar things appear as mysterious beings whose origins are unknown, and I find myself inside a precious moment of encounter.
If we imagine that Earth itself, as one of many celestial bodies, is also living its own naka-ima, then perhaps the footprints I leave become “points” of contact—between this planet and something beyond it. This idea led me to incorporate meteorite-like objects into the FOOT PAINTING series. These fragments are not merely visual accents, but quiet devices that stir the boundary between self and other, Earth and cosmos, time and presence.
İlgili temalar
I am an artist who works with signs as my material. Motifs such as soles of the feet, shoe shapes, ribbons, and language appear repeatedly in my work, functioning as "signs" embedded within layers of personal memory and cultural sediment. Among them, footprints hold a particularly significant position—not merely as bodily traces, but as signs that embody actions, time, and meaning. They carry information such as “who,” “how,” and “in which direction” someone existed, serving as symbols that evoke culture, memory, and narrative. I treat them as sign-based points of contact that visualize the invisible.
My interest lies in the process through which signs become present via bodily acts, connect with materiality, and are restructured as meaning. For example, the act of writing letters with the trace of a foot reconstructs abstract language into something material and improvised—a “point of contact” where meaning blurs and begins to sprout anew. In works like the shoe shaped sculpture and parts of the Hidden Gesture series, I often use grid paper to plan forms prior to production, basing compositions on balanced ratios such as 5×7 (silver ratio) and 5×8 (golden ratio). Rather than relying solely on physical gestures, I aim for a coexistence of chance and structure by grounding my work in invisible orders.
For me, signs are not static entities but living structures within movement and relationships. Motifs such as shoe shapes or ribbons are not mere symbols; they function as devices that mediate between body and society, self and collective, past and future. My practice is a conceptual endeavor that explores the in-between of visible and invisible, thought and sensation, chaos and order through signs. Rather than reconciling opposing forces such as East and West, my work dwells within their tension.
The forms that appear in my work are never ends in themselves—they are always temporary borrowings used to mediate the questions that arise within me. Figurative and abstract, painting and sculpture, bodily traces and symbolic ribbons—all are chosen for their mediating potential and eventually recede. I create at the intersection of intuition and concept. My selection of forms and gestures is neither dictated solely by intellect, nor overwhelmed by sensation. Rather, I aim to remain within a state of "mediation" in all such acts.
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Milliyet:
JAPONYA
- Doğum tarihi : 1982
- Sanatsal alanlar: Profesyonel sanatçıların eserleri,
- Gruplar: Profesyonel Sanatçı Çağdaş Japon Sanatçılar
