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"BODY 09-1 'Impact' BODY 09-1" by Aoki Chie (2009)
Lacquer and hemp cloth on polystyrene foam
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I'll start with a confession. I wasn't that interested in seeing the Japanese lacquer sculpture exhibit at the Ringling. Contemporary or not, it just didn't sound like my thing. And I suspect the reference to hard bodies after the overindulgences of the holiday season didn't help. Note to self: Always have an open mind.
I inadvertently entered the exhibit's last room first and was welcomed by this sculpture by Aoki Chie. This was not what I had expected. The figures are pushing against one another so hard that they have become one. The wall card explained that the bulbous form in the middle signifies helplessness and loss of willpower. (Again with the reference to the excesses of the season!) While I can see Aoki's intentions, the work called to mind something much more fun -- Erwin Wurm's One Minute Sculptures exhibit that Wendi and I saw in Berlin. In that show, viewers interacted with everyday objects that had been placed around the room. "BODY 09-1 'Impact' BODY 09-1" reminded me of our struggle to get ourselves into the same sweater. Click here to see what that looked like. But I digress. To see more of Aoki's work, click here.
"Protection Box: Snails" by Aoki Kodo (Yosuke) felt much more traditional than Aoki Chie's sculptures while still qualifying as contemporary. Aoki's protection boxes were inspired by Chinese bronzes used in religious rites from the Shang and Zhou dynasties. (We're talking all the way back to 1046 BCE.) The boxes are intended to serve as time capsules of a sort.
Aoki began with a clay mold of the body of the sculpture which he then covered with hemp cloth and lacquer. While I don't know how many layers of lacquer were applied here, I learned that Japanese artists routinely apply 20 thin coats to achieve the desired effect. While counterintuitive, the lacquer is dried/cured in an enclosure with 85 percent humidity. It's a long process. I also now know that lacquer is made from the sap of the Urushi tree. Tapping these trees to obtain the material is an art in and of itself as the liquid sap is poisonous to the touch. Its odor can be hazardous as well. The glittery components of the sculpture come from Aoki's use of gold powder and inlaid opal. I like his combination of nods to the past while embracing the present.
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| "Undercurrents 2009-II" by Matsushima Sakurako (2009) |
I was fascinated by the concept of Masumshima Sakurako's sculptures as wearable art. While the wall card for "Undercurrents" didn't specify this, I have to assume that refers to much smaller versions of the sculptures on display, which extended more than two feet across.
After a totally incomprehensible sentence about the artist's "interest in the talismanic function of body ornamentation in societies with animistic spiritual beliefs," the wall card got to the inspiration for Matsushima's work. Her sculptures/jewelry often represent one of the five elements in Japanese Buddhist philosophy -- earth, water, fire, wind and void. (I'm curious how void would be depicted.) As indicated by its name, "Undercurrents 2009-II" represents water. I like both the ripples and the reflections they create.
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| "Bear: Glittering" by Sano Akira (2010) |
I'll leave you with Sano Akira's "Bear: Glittering." Sano is known for his panda-like bears that he calls Kuma-san (or Mr./Ms. Bear). They are intended as social satire, with a strong nod to the fad among Japanese high school girls to decorate their belongings with glittery plastic items. (The glitter here comes from mother of pearl.)
Beside each work was a short bio of the artist (with a picture, which was a nice addition). Sano's statement about his work notes that lacquer has always been considered craft rather than art. It's an issue often considered in the context of fiber art as well. Sano's goal is to push those boundaries in his work and make something new.
I enjoyed the humor and approachability of "Bear: Glittering." Like "Body 09-1 'Impact' Body 09-1," this work called the art of another artist to my mind -- Jeff Koons. There's something about the way the round components are pieced together that made me think of Koons' balloon art. I'm sure Sano wouldn't mind the comparison if his work fetched prices anywhere near that of Koons's creations. Click
here to see Koons' "Orange Balloon Dog" that sold at auction for over $58 million.
Writing this blog has been quite humbling given my extremely limited knowledge of both lacquer works and Japanese art more generally. For a quick read about Japanese lacquer art that I found illuminating, click here. To watch the short documentary "Bone, Flesh, Skin: The Making of Japanese Lacquer," click here. The film was running in one of the galleries, and it is fascinating. And to see a prospectus of the entire show, which came from the Minneapolis Institute of Art, click here. Of course, the work is best seen in person. But time is limited -- the exhibit closes on January 23rd. Click here for more information.
Here's to a new year filled with artsy adventures and fueled by an open mind.