Aiko Miyawaki Untitled
Aiko Miyawaki
1929–2014
Untitled
signed, located Paris and dated 1962 on the reverse
marble powder and oil on canvas mounted on wood panel
130 x 97 cm ; 51 3/16 x 38 3/16 in.
Executed in 1962.
________________________________________________________
Aiko Miyawaki
1929–2014
Untitled
signé, localisé Paris et daté 1962 au dos
poudre de marbre et huile sur toile montée sur un panneau de bois
130 x 97 cm ; 51 3/16 x 38 3/16 in.
Exécuté en 1962.
Condition Report:
Tiny losses of media are visible on the sides of the work. There is a chip to the media in the upper left corner. Extremely close inspection reveals tiny media accretions in places. This work is in overall good condition.
Catalogue Note:
In the fall of 1962, I spent several hours on a street corner in Paris, watching the sun set, and as it got darker, it had a great effect on me…. I lost all interest in stories which have a beginning, and an end, in bold shapes, bright colors. Then I started to make works that seem to have no beginning, no end.
Miyawaki Aiko
Born in 1929, the Japanese artist Aiko Miyawaki is one of the emblematic figures of abstraction. She worked alongside important figures in the art world such as Man Ray, Hans Richter, Marcel Duchamp and Richard Lindner. While she is best known for her work in sculpture, her two-dimensional works are relics of an experimental approach to materials as well as forms.
Growing up in Japan, Miyawaki experienced earthquakes, typhoons and other natural disasters. She became aware of the fragility of things. The notion of temporality gradually permeates her work to the point of becoming the guiding thread of her creative approach.
From the 1960s onwards, she developed a technique that consisted of mixing oil and marble powder on a wooden panel. The resulting substance gives rise to an undulating surface that seems both fixed and in constant motion. In this way, the artist refers to the ephemeral nature of things. These disconcerting forms illustrate the irregularity and change that give rhythm to our earthly existence.
The work, created in 1962, is strewn with vertical shapes that seem to free themselves from their support. The different shades of grey give the panel a certain relief. The work thus remains at the intersection between the medium of painting and that of sculpture. This in-between situation reinforces the idea that nothing is definitive. Moreover, the work seems to change its appearance depending on the lighting and the angle from which it is viewed. The artist strives to sharpen the viewer's gaze, making them aware of the slight variations that occur on the surface.
These repetitive forms also have a calming effect on the eye. The sobriety of the shades of grey evokes a sense of calm. Moreover, the horizontal distribution of the motifs on the panel is reminiscent of a musical score. The work can therefore be seen as the outline of a silent melody.
Although the work in question was produced during the artist's stay in Paris, as part of a contract with the dealer André Schoeller, on her return to Japan she began to produce three-dimensional sculptures. Miyawaki's work was a worldwide success and has been exhibited in numerous exhibitions, including at the Cooper Hewitt, Smithsonian Design Museum in the United States, and the Museum of Modern Art, Kamakura & Hayama in Japan.
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À l'automne 1962, j'ai passé plusieurs heures au coin d'une rue à Paris, à regarder le soleil se coucher, et comme il faisait plus sombre, cela a eu un grand effet sur moi..... J'ai perdu tout intérêt pour les histoires qui ont un début et une fin, avec des formes audacieuses, des couleurs vives. J'ai alors commencé à réaliser des œuvres qui semblent n'avoir ni début ni fin.
Miyawaki Aiko
Née en 1929, l’artiste japonaise Aiko Miyawaki est l’une des figures emblématiques de l’abstraction. Elle côtoie des personnalités importantes du monde de l’art dont Man Ray, Hans Richter, Marcel Duchamp et Richard Lindner. Si cette dernière est surtout réputée pour son travail autour de la sculpture, ses œuvres en deux dimensions constituent les reliques d’une approche expérimentale vis-à-vis des matériaux aussi bien que des formes.
Ayant grandi au Japon, Miyawaki fait l’expérience des tremblements de terre, typhons et autres catastrophes naturelles. Cette dernière prend alors conscience de la fragilité des choses. La notion de temporalité s’imprègne progressivement dans son œuvre au point de devenir le fil conducteur de son approche créative.
À partir des années 1960, elle développe une technique qui consiste à mêler de l’huile et de la poudre de marbre sur un panneau en bois. La substance qui résulte de ce mélange donne lieu à une surface ondulée qui semble à la fois figée et en perpétuel mouvement. C’est ainsi que l’artiste renvoie au caractère éphémère des choses. Ces formes déconcertantes illustrent l’irrégularité et le changement qui rythment notre existence...
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Aiko Miyawaki
1929–2014
Untitled
signed, located Paris and dated 1962 on the reverse
marble powder and oil on canvas mounted on wood panel
130 x 97 cm ; 51 3/16 x 38 3/16 in.
Executed in 1962.
________________________________________________________
Aiko Miyawaki
1929–2014
Untitled
signé, localisé Paris et daté 1962 au dos
poudre de marbre et huile sur toile montée sur un panneau de bois
130 x 97 cm ; 51 3/16 x 38 3/16 in.
Exécuté en 1962.
Condition Report:
Tiny losses of media are visible on the sides of the work. There is a chip to the media in the upper left corner. Extremely close inspection reveals tiny media accretions in places. This work is in overall good condition.
Catalogue Note:
In the fall of 1962, I spent several hours on a street corner in Paris, watching the sun set, and as it got darker, it had a great effect on me…. I lost all interest in stories which have a beginning, and an end, in bold shapes, bright colors. Then I started to make works that seem to have no beginning, no end.
Miyawaki Aiko
Born in 1929, the Japanese artist Aiko Miyawaki is one of the emblematic figures of abstraction. She worked alongside important figures in the art world such as Man Ray, Hans Richter, Marcel Duchamp and Richard Lindner. While she is best known for her work in sculpture, her two-dimensional works are relics of an experimental approach to materials as well as forms.
Growing up in Japan, Miyawaki experienced earthquakes, typhoons and other natural disasters. She became aware of the fragility of things. The notion of temporality gradually permeates her work to the point of becoming the guiding thread of her creative approach.
From the 1960s onwards, she developed a technique that consisted of mixing oil and marble powder on a wooden panel. The resulting substance gives rise to an undulating surface that seems both fixed and in constant motion. In this way, the artist refers to the ephemeral nature of things. These disconcerting forms illustrate the irregularity and change that give rhythm to our earthly existence.
The work, created in 1962, is strewn with vertical shapes that seem to free themselves from their support. The different shades of grey give the panel a certain relief. The work thus remains at the intersection between the medium of painting and that of sculpture. This in-between situation reinforces the idea that nothing is definitive. Moreover, the work seems to change its appearance depending on the lighting and the angle from which it is viewed. The artist strives to sharpen the viewer's gaze, making them aware of the slight variations that occur on the surface.
These repetitive forms also have a calming effect on the eye. The sobriety of the shades of grey evokes a sense of calm. Moreover, the horizontal distribution of the motifs on the panel is reminiscent of a musical score. The work can therefore be seen as the outline of a silent melody.
Although the work in question was produced during the artist's stay in Paris, as part of a contract with the dealer André Schoeller, on her return to Japan she began to produce three-dimensional sculptures. Miyawaki's work was a worldwide success and has been exhibited in numerous exhibitions, including at the Cooper Hewitt, Smithsonian Design Museum in the United States, and the Museum of Modern Art, Kamakura & Hayama in Japan.
_________________________________________________________
À l'automne 1962, j'ai passé plusieurs heures au coin d'une rue à Paris, à regarder le soleil se coucher, et comme il faisait plus sombre, cela a eu un grand effet sur moi..... J'ai perdu tout intérêt pour les histoires qui ont un début et une fin, avec des formes audacieuses, des couleurs vives. J'ai alors commencé à réaliser des œuvres qui semblent n'avoir ni début ni fin.
Miyawaki Aiko
Née en 1929, l’artiste japonaise Aiko Miyawaki est l’une des figures emblématiques de l’abstraction. Elle côtoie des personnalités importantes du monde de l’art dont Man Ray, Hans Richter, Marcel Duchamp et Richard Lindner. Si cette dernière est surtout réputée pour son travail autour de la sculpture, ses œuvres en deux dimensions constituent les reliques d’une approche expérimentale vis-à-vis des matériaux aussi bien que des formes.
Ayant grandi au Japon, Miyawaki fait l’expérience des tremblements de terre, typhons et autres catastrophes naturelles. Cette dernière prend alors conscience de la fragilité des choses. La notion de temporalité s’imprègne progressivement dans son œuvre au point de devenir le fil conducteur de son approche créative.
À partir des années 1960, elle développe une technique qui consiste à mêler de l’huile et de la poudre de marbre sur un panneau en bois. La substance qui résulte de ce mélange donne lieu à une surface ondulée qui semble à la fois figée et en perpétuel mouvement. C’est ainsi que l’artiste renvoie au caractère éphémère des choses. Ces formes déconcertantes illustrent l’irrégularité et le changement qui rythment notre existence...
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Estimate
Reserve
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