Lush (2023) 雕塑 由 Hamu Isen
卖家 Hamu Isen
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1500 px |
| 文件尺寸 (px) | 1125x1500 |
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艺术图片银行-
原创艺术品 (One Of A Kind)
雕塑,
粘土
/
丙烯
/
木
在木上
- 外形尺寸 高度 9.3in, 宽度 15.4in / 2.00 kg
- 艺术品状况 艺术品完好无损
- 是否含画框 此作品未装裱
- 适合户外? 没有, 这件艺术品不能在户外展示
- 分类 雕塑作品 低于US$5,000 抽象主义 抽象主义
The material used is a special pigment made from a mixture of clay and acrylic paint, which I apply by pressing it with my fingertips. After it dries, I scrape the surface. In this process, the gesture made by my fingers is initially buried but gradually resurfaces. The traces are not a result of a clear intention, but emerge as a response between the material and the body.
The form of the shoe is not that of the foot itself, but a symbol of actions and relationships such as “walking,” “leaving traces,” and “the absence of others.” In this sense, my "Shoe Shaped Sculpture" does not expose the body’s presence, but rather hints at the body’s location through the intermediary of traces.
Additionally, in this series, the energy of the gesture is suppressed by the viscosity of the pigment, and the fleeting motion becomes embedded as layers of time. This is a collaborative process between the body and the material through “slow gestures,” distinct from action painting, and is a continuation of my practice in the "Hidden Gesture" series.
The "shoe shape" is not merely a motif but a symbol of the point where the body’s extremities touch the world. At the same time, it represents the traces left by others and also serves as my own inner map. In my works, the shoe shape repeatedly appears as a symbol of a presence that oscillates between the “individual” and the “collective.”
相关主题
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.
