MARCH 2021 - World Art Society

M aRCH 2021 issue

WHO We aRe

The World Art Society features two online catalogues every year listing quality artworks of Non-Western art that have been thoroughly selected by our select members, who are the in-house experts.

By bringing together a group of trusted dealers, our platform offers a unique collection of works of art that collectors will not find anywhere else online.

To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee.

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Cover image: Koseibutsu, Sugiura Noriyoshi . Presented by Galerie

Mingei

M aRCH 21 aRt WORKs

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abie loy Kemarre

Aboriginal painter Abie Loy Kemarre was born in 1972 in the Central Desert where she lived a semitraditional life, far from the classical western school system. her family members had her follow a number of traditional ceremonies in order to teach her their culture.

Through that process, she inherited the right to paint her Bush Leaf series from her father, and she depicts only the aspects of the story that belongs to women.

Plant pharmacology is an important preserve for Aboriginal women and features in many women’sonly ceremonies.

The leaves in Abie’s paintings are from the plant lpomoea muelleri (in the Alyawarre language anaytapaytap), which grows in swampy areas near sandhills in her grandfather’s country. Its leaves have curative properties for a multitude of ills.

From afar, the work’s fluid surface movement captures attention. When close, the viewer is further entranced by the detail in the leaves themselves.

Powerful optical effects are in play in these paintings. The inferred association between their spiralling movements and physical disorientation is endorsed by the known pharmacological properties of the leaves themselves: “Kemarre’s Bush Leaf Dreaming provokes powerful sensations in the spectator. The colours and forms appear to vibrate with dazzling intensity, investing Kemarre’s canvases with an almost hallucinatory power ...capturing the wild profusion of the intertwining networks of medicinal leaves.”

(Dr. Christine Nicholls)

acrylic on canvas

122 x 122 cm

T.:

Bush Hen Dreaming 2020

acrylic on canvas

91 x 152 x 3 cm

© DR

Price on request

aRtWORK pResented by: Arts d'Australie . Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

The “Bush hen Dreaming”, for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint.

The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly erroneously referenced as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush hen Dreaming compositions is generated from intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology –the study of animal behaviour. Christine Nicholls describes this as “grounded abstraction”: “Patterns correspond to the pathways taken by the hen: arcs, semi-circles, and lines, as she engages in the never-ending search for food and attempts to safeguard her chick … constantly beating pathways both toward and away from the chick.”

alberto guzmàn

Born in 1927 in Talara in Peru died on November 2, 2017 in Nogent sur Marne.

The Parisian sculptor of Peruvian origin, Alberto Guzmán, studied at the National School of Fine Arts in Lima, where in 1953 he exhibited his first abstract sculpture in welded iron. He then organized his first solo exhibition at the Instituto de Arte Contemporaneo in Lima in 1959, when he obtained, through a competition, a scholarship offered by French government to study in Paris. Two years later, he presented his sculptures in welded wire at the Musée d’art modern de la Ville de Paris as part of the exhibition "Latin American Art in Paris", then at the “Salon de la Jeune Sculpture”. Guzmán implements a universal language in which two half-spheres are held apart at a distance by metallic wires in tension which translate the impossibility for the human being to achieve essential unity.

Guzmán also exhibited in Caracas and Valencia in 1965 and participated in the Venice Biennale the following year. From the 1970s, the artist sought to transpose his creations into marble and began to work in chiaroscuro by making drawings on paper or cardboard in which he then made perforations and cutouts. Guzmán

received the Bourdelle Prize in 1971 and organized the following year at the Musée Bourdelle a personal exhibition of his sculptures and drawings from 1959 to 1972. In 1973, he took part in the exhibition "Sculptures en Montagnes" on the Plateau d 'Assy in the French Alpes and then subsequently presented his work at the European Sculpture Triennial at the Grand Palais (1982) and at the havana Biennale (1986). Along with his career as a sculptor, Guzmán produced jewelry, furniture and theater sets. In 2012, the Musée des Beaux-Arts in Pau organized a retrospective exhibition of his pictorial and sculptural work which highlighted half a century of artistic reflection.

Trois Transparences

2006

Carrara marble sculpture

+/- 180 x 26 x 26 cm

Price: 70.000 euros

aRtWORK pResented by:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

alberto guzmàn

While Alberto Guzmàn's sculpted work in metal and marble is well known, his painted work remains to be discovered. These are not preparatory drawings that usually allow the sculptor to elaborate a future work. It is an autonomous work, created for itself. Alberto has drawn and painted throughout his life and the choice of ink can be easily understood. Whereas the work of sculpture in direct carving or by welding is elaborated over a long period of time; Guzmàn could express all his spontaneity through ink with quick gestures.

We find again the imaginary, the shapes and the geometrical vocabulary of the sculptor: the disc, the whole or decomposed sphere, fragmentary, partially occulted or repeated. But also striations, hatching, cracks and accumulations.

Although ink is his preferred medium, Guzmàn also used colour sparingly to enhance its washes. More surprising was the use of coffee,

which was spread on large areas to form the background.

Alberto Guzmàn was very curious and knowledgeable about non-European cultures, he had a particular interest in Asian ink painting. he prepared his ink on Chinese ink stones and used engraved seals to apply his monogram with cinnabar. At the end of the 1980s, Alberto was invited to South Korea to carry out monumental public commissions (two works for the Moran Open Air Museum in Seoul and one for the Olympic Park in Seoul). he will keep a link and an attachment to this culture.

Two of his drawings are kept in the Louvre, the sculpted work is present at the Peggy Guggenheim Foundation in Venice, the Musée d'Art Moderne de la Ville de Paris, the National Gallery in Oslo, the Lowe Museum in Miami and in many museums in Latin America. Public works have also been created in France, Korea, Norway, Peru, the United States

Abstract composition

Signed and red monogram lower left

Ink on paper

64,5 x 50 cm

Price: 3.500 euros

aRtWORK pResented by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

Coco Fronsac

Born in 1962 into a family of artists, granddaughter of Lucien Neuquelman, and Camille Lesné, with a formal training in Applied Arts in Paris and experience as a former lithographer, Coco Fronsac is a versatile artist with a passion for Tribal Art and Surrealism.

For thirty years now Coco Fronsac has been touring the flea markets every weekend in search of old family photos fallen into other hands through the ups and downs of personal histories. The result is an endlessly renewed collection of old portraits, that has become an integral element of her visual imagination.

Through collage, carving, painting, weaving, colorization and juxtaposition, she plays with our vision of time and our relationship to the other in order to transport us into a new reality. A reality that is fluctuating, alive and abstract and in the exploration of this abundance of different worlds; each work of art becomes an invitation into her dreamlike and timeless universe.

Since 2010 Coco has increased her renown and is exhibited in collective and solo exhibitions in both Europe and the USA. She lives and works in Paris..

Les souliers vernis de la série Chimères et Merveilles

2012

signed at the bottom and artist's stamp on the back Gouache on old oval photograph with oak frame Elema mask, Papua New Guinea. La Rochelle Natural history Museum. France Merz book cover N ° 1 January 1923

40x30cm

Price: 3.250 euros

exhibition:

Galerie Vallois 2013, Paris

Galerie hélène Bailly

Contemporain, Brafa 2015, Brussels. aRtWORK pResented by:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

Fatoumata diabaté

Born in 1980, lives and works between Montpellier and Bamako.

Attracted by humanist and social portraiture and photography, her images are mainly about women and young generations in Mali. The oral tradition, the beliefs, the question of the transmission are at the heart of her work. Usual objects, improvised masks and clothes become in her portraits the symbolic vectors of a common living memory, constantly reinvented.

For her first solo exhibition in Paris, Fatoumata Diabate presents a selection of artworks from two series: L’ h omme en animal (Man as animal) and L’ h omme en objet(Man as object). Two photographic projects realised between 2011 and 2015 around the role of stories and tales in the structuring of the individual in Mali. A strong symbolic language, where the object and the animal question our relation to the world, modifying the bodies and masking the human figure.

After studying photography at the Promo Femmes audiovisual training center at the CFP in Bamako from 2002 to 2004, Fatoumata Diabate was then technician of the center's film laboratory until 2009.

her work has been the subject of several exhibitions in Mali, France and abroad, including at the Fondation Blachère (2012), at the Muséum national du havre (2017), at the Musée rouge de Canton and at the Shutter space, Chengdu (2019).

Fatoumata Diabate also took part in the Biennale de la photographie de Bamako (2009, 2011), to the Voies off festival in Arles (2018), to the Biennale de Dakar (2018) and to the Festival photo La Gacilly (2017).

Since December 2017, she is president of the association of women photographers of Mali.

In 2020, she enters the residency program of the musée du Quai Branly Paris.

Bala na djolo, serie L’homme en objet

Bamako, Mali, 2013

66,5 x 100 cm - edition of 5

Price : 3.000 euros

40 x 60 cm - edition of 10

Price : 2.000 euros

aRtWORK pResented by:

31PROJECT

T : +33(0)6 07 22 73 19

E.: contact@31project.com

Collective (erub arts, Qld, australia)

by Ethel Charlie, Solomon Charlie,

Every year, a lot of fishing equipment is lost, abandoned or simply discarded. Of all this waste, fishing nets are the deadliest. They pose a serious threat to marine animals which get strangled in them or suffer debilitating lacerations. These “silent lethal killers” (Gunn, 2016) are known as ghost nets.

Transported by currents and wind over thousands of kilometres, marine waste can accumulate in areas of low hydrodynamism where it sometimes stays for hundreds of years as it does in the northern Australian coast where ghost nets are trapped within the Gulf of Carpentaria because of the circular movement of the currents.

In order to make the public aware of this environmental catastrophe, Indigenous and non-indigenous Australian artists collaborated with each other through numerous workshops that saw the creation of a new art form, the Ghost Net Art Movement that implies the creation of sculptures through the use of abandoned fishing nets.

Erub Art’s artistic director, Lynnette Griffiths, in collaboration with Erub artists (Torres Strait Island, Queensland) have created this unique “Beizam (shark)” sculpture that personifies the horror of the death and destruction caused by the abandoned fishing nets.

Emma Gela, Lynnette Griffiths, Florence Gutchen, Lavinia Ketchell, Nancy Naawi, Racy Oui-Pitt, Ellarose Savage, Jimmy John Thaiday, Jimmy Kenny Thaiday

Beizam

2019

Ghostnet (recycled fishing nets)

290 x 100 x 130 cm

© DR

Price on request

aRtWORK pResented by:

Arts d'Australie . Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

george nuku

George Nuku was born in 1964 and raised in heretaunga hawkes Bayhas. he is a mix of Germany, Scottish, and Maori origins. As a child, he was influenced by his mother’s Maori culture, he then entered Massey University, studying arts, geography, and sociology. he is one of New Zealands North Island Aotearoa leading contemporary Māori artist of all time.

he works with visual creativity, performing arts, painting and carving with mix media such as stone, bone, wood, shell, polystyrene, plexiglass and recycled plastic. he covers it with Maori symbols representing wonders of the sea, and profoundly inspires viewers to ponder upon the environmental issues the world is now facing. Nuku's work ranges from delicate jade and pearlshell amulets, life size stone and plexiglass sculptures, through to two story high Polynesian demigods and Māori cultural heroes. He carries the tradition of his people handed down for one thousand years in an artform that promises to expand life and enhance survival.

Nuku has gone on to an impressive career in

the arts that has seen him exhibit extensively internationally, in over 50 major projects in museums, art institutions and on marae (tribal meeting grounds), including a major commission for the New Zealand pavilion at the 2009 Venice Biennale. he is currently based in Rouen, France.

'Rei Niho' pendant

2014

Pig ivory sculpture

12 x 7 cm Photo

Price: 2.600 euros

©Reinhart Cosaert @ The_Image_Paradox

aRtWORK pResented by:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

georgina Maxim

Born 1980 in harare, Zimbabwe

Maxim is known for both working as artist and curator with over a decade of arts management and curatorial practice. Maxim together cofounded Village Unhu in 2012, an artist collective space in harare that has been providing studio spaces, exhibitions, workshops and residency programs for artists – young and professional.

After studying at the University of Chinhoyi, she taught visual arts for several years at the Prince Edward School while managing the Delta Gallery, a historical gallery for contemporary art in harare.

Georgina Maxim has at the same time developed her artistic work by turning to textiles and using the techniques of embroidery, sewing and weaving to destructure, cut out and recompose second-hand clothes. She thus creates singular works that escape definition: the artist herself describes her work as an act of memory, a transcription of the moment, the lived moments

and stories evoked by these used textiles. In 2018, Georgina Maxim has been nominated for the henrike Grohs Award (Goethe Institute, Abidjan).

her work has been exhibited in Zimbabwe (Gallery Delta, National Gallery of Zimbabwe) and internationally (Mojo Gallery in Dubai, Sulger Buell Gallery in London, Goethe Institute in Salvador de Bahia).

In 2019, Georgina Maxim is taking a master's degree at the University of Bayreuth in order to deepen her curatorial practice and is undertaking a creative residency of several months at the Goethe Institute in Salvador de Bahia. The same year, she also presented an installation for the Zimbabwean pavilion at the 58th Venice Biennale. This year she exhibits at the Bargoin Museum (Clermont-Ferrand) and presents her work at the FRAC Nouvelle-Aquitaine in 2021.

Ane mweya wemadzinza

(She has a family curse), 2020. Textile, mixed media, 195 x 150 cm

Price: 9.000 euros

exhibition

Bordeaux, Mémoria: récits d’une autre histoire, FRAC Méca, Nouvelle-Aquitaine, 5th February - 21st August 2021

publication

hounkpatin N., Seror S., Mémoria: récits d’une autre Histoire, Actes Sud, Vérone, 2021, pp.38-39

aRtWORK pResented by:

31PROJECT

T : +33(0)6 07 22 73 19

E.: contact@31project.com

Henry Mzili Mujunga

henry 'Mzili' Mujunga is a Ugandan-born painter, printmaker and writer. henry ’Mzili’ Mujunga’s portraits feature numerous, seemingly disparate objects brought together into a single frame. They are set in intimate spaces where very personal interactions take place – often combining several such spaces into one – with titles that the describe the interactions within the paintings themselves, and at the same time allude to external associations. Mzili’s gathering of objects, spaces, and the existing associations with these objects mimics the processes of identity-making that he observes in his native Uganda. Individuals often rely on their outward appearance, their possessions, even their environments (and their interactions within them) to communicate their own vision of themselves. At the same time these very things are looked upon by others to identify those around them. Through these informationpacked autobiographical compositions, Mzili offers a glimpse into his personal history and present. In addition, they become, for the viewer, a point of departure from which to begin building

an understanding of identity in present-day urban Kampala.

Mzili is a winner of the Royal Overseas League (ROSL) Art Scholarship 2003 and has exhibited in galleries in Uganda, Kenya, Tanzania, Nigeria, Togo, Benin, Burkina Faso, Mali, Ghana, the United Kingdom, Germany, France, South Africa and the Netherlands. - Wikipedia

Possibilities

2018

Oil painting

170 x 130 cm

SOLD

aRtWORK pResented by:

James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Henrick lilanga

The only artist in Tanzania who has succeeded in developing the Lilanga art further is hendrick Lilanga, born on 20th October 1974 in Dar es Salaam, the grandson of the famous painter George Lilanga.

The first techniques George Lilanga taught hendrick were goat skin techniques and watercolor. These paintings carry, from his grandfather's stories and paintings, the spirit world of the Makonde tribe but now in the contemporary setting of Tanzania. Often they depict worlds of mischievous mashetani (devils). hendrick's long stays in Japan and South Korea have also influenced his artwork. hendrick has exhibited internationally at a very young age, including South Korea, Japan and Uganda.

Hadith ya picha hii ni Onyesho la muziki wa Tarumbeta (The story of the picture is a trumpet music show)

Oil painting

140 x 140cm

Price : 8.000 usd

aRtWORK pResented by: James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Hadith yake ni Maisha ya Angani ni Rangi ya Bluu. (The story of the sky life is blue)

Oil painting

200 x 100cm

Price : 8.000 usd

aRtWORK pResented by: James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Jamini Roy

One of the earliest and most important artists of the Indian modernist movement, Jamini Roy (1887-1972) began his artistic training in the European academic style. In response to a burgeoning sense of nationalism, from the mid1920s, he became increasingly influenced by indigenous folk art and craft traditions as well as East Asian calligraphy — thereby rejecting many tenets of his academic education.

Roy was particularly inspired by the Kalighat style (developed in West Bengal during the 19th century), executing minimalist works characterized by soft, curvilinear strokes showcasing the artist’s control of his brush. These paintings employed imagery from everyday life, such as mother and child figures, and were executed in monochromatic palettes.

The present artwork epitomizes this period in Roy’s career as it demonstrates the simplistic style he developed with the aforementioned Asian sources of inspiration. Fluid, sweeping black strokes against a soft gray background form the outline of a woman standing in threequarters view, her hands crossed in front and her head tilted coyly. Devoid of any identifying features, the painting evokes an inviting yet mysterious atmosphere, ultimately illustrating the artist’s mastery of the brush and contour.

The work is signed in Bengali at the lower right.

Untitled (Woman Standing) circa 1920

Tempera painting on cardboard

27 x 14.25 in. (68.6 x 36.2 cm.)

Provenance:

From an important New York Collection

Acquired from a private Pennsylvania Estate.

Price: 20.000 usd

aRtWORK pResented by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

Jim skull

The adventures of Jim F. Faure, or Jim Skull the artist, began at Koumac in New Caledonia in 1959. Passionately drawn to human experiences, different cultures, rituals, habits and customs he traveled a great deal and was marked by his encounters. Over the years he traveled through Oceania from New Zealand, to Vanuatu, Australia, then on to India, and hong-Kong, before landing in Paris to enter the Ecole Estienne and the École nationale supérieure des arts appliqués et des métiers d’art of rue Olivier de Serres.

he decided to use those experiences to focus his stylistic research on creating sculptures in the shape of human skulls. In 1980, Jim skull created his first skulls and since then paying attention to detail and working with various materials he share his view of the skull as something new, with harmony and glam; far from the concept of macabre. he transforms these "fetishes objects" into unique collectible shapes.

his materials consists of countless colored threads, paper mache, raw-earth pearls, Murano glass beads, rope and feathers that together form a sort of “skin”, covering the framework of the main form.

Since the beginning of this century, Jim has taken part in many exhibitions in Paris, where he lives and works.

Untitled 2013

Papier maché skull and raw earth pearls - Niger (with pedestal)

height: 160 cm

Price: 10.660 euros

exhibition:

hEY! Part 2. halles St Pierre. Paris 2015

aRtWORK pResented by:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

Joseph ntensibe

Joseph Ntensibe is an Ugandan Postwar & Contemporary painter who was born in 1953. Joseph Ntensibe's work has been offered at auction multiple times, with realized prices ranging from $5,107 USD to $172,372 USD, depending on the size and medium of the artwork. Since 2016 the record price for this artist at auction is $172,372 USD for Tropical garden 2, sold at Piasa in 2019. Joseph Ntensibe has been featured in articles for the Art Market Monitor and the "ArtDaily". The most recent article is Aboudia, Zemba Luzamba, Dickens Otieno Anchor Contemporary African Art Sale at Artcurial in Marrakesh written by Angelica Villa for the Art Market Monitor in January 2021.

- Mutualart

Showdown

2019

Oil painting

200 x 150 cm

SOLD

aRtWORK pResented by:

James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Tropical Garden Series

2019

Oil painting

150 x 200 cm

aRtWORK pResented by: James Stephenson African Art

T.: +1 646.644.7156

E: info@stephensonafricanart.com

Kalu Ram

Kaluram Pancial was born in Jaipur, the renowned Pink City in Rajasthan. As is quite usual the actual year of birth in not know but it is assumed mid to late 1940’s. his father of Brahmin caste painted yantras for religious rites and particular paintings depicting intertwining of naga (snakes), for the market. Kalu Ram's brother was a professional painter too, and his three children currently all work as painters in Jaipur. Certainly, the profession of painter has been handed down from father to son for generations, as is usually the case in India. During the mid 1970’s Kalu Ram painted almost exclusively tantric subjects, especially mandalas and jambudvipa. Kalu Ram never copied the subjects he painted, as it happened in practically all studies of that time in India, Kalu Ram, always interpreted with great inventiveness what he painted, in fact you will never find a painting equal to the other. The majority of paintings offered in the present exhibition belong to the last work done by Kalu Ram in the years before he passed away.

You could enter his charming house within the old city walls through a small studded door. A narrow stairway led to an inner courtyard where the smooth kaolin floor often had traces of big drawings made with colourful powders, usually diagrams (Yantra) with four openings representing the four doors of the universe. his

Untold Stories #26

Circa 2005–2010

Gouache on paper, signed lower right height: 23 cm (9 in)

Width: 28 cm (11 in)

Price : 1.250 GBP

aRtWORK pResented by:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Menagerie of Magical Beasts #19 Circa 2005–2010

Gouache on paper, signed lower right

height: 28 cm (11 in)

Width: 23 cm (9 in)

Price : 1.500 GBP

aRtWORK pResented by: Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

father used to make them when in his role of officiating brahmin he conducted community functions or tantric rituals for a few chosen ones. These were exoteric practices aimed at expanding one's knowledge in order to reach the maximum energetic potential.

Another stairway led to a second courtyard surrounded by a porch of slender columns, covered with a layer of kaolin as smooth and soft as ivory. On several stone shelves there were dozens of glass jars containing natural colours – minerals that two assistants were in charge of grinding in marble mortars, reducing them to fine powders. Other bowls and jars contained roots, spices, berries, several types of vegetables and also resins, glues, lacquers in different colours,

incredibly thin silver and gold foils. Near the low table he used to work on, several smooth wooden boards were used to spread out the sheets of paper to be painted. There were also frames to stretch canvases, filters, sieves, agate stones of different sizes and shapes to polish and fix the colours. An old scribe was summoned, when needed, for the writing, which was usually in Sanskrit. he used black, made with carbon black, or cinnabar red, obtained from mercury sulfide, when he wanted to underline a word or a whole sentence, as in the century-old tradition of compiling religious manuscripts. Kalu Ram grew up in this environment, so he knew all the secrets, recipes and formulas handed down through the generations. Every act of living, every gesture is a ritual in hindu culture. So he drew yantras,

geometries representing the energy used for meditation, and conceived tantric diagrams, symbols dating back from ancient cultures, a sort of shortcut to stop the cycle of rebirth.

he painted the achievements of the gods in epic hindu poems like Ramayana and Mahabharata, but also Jain cosmologies and scenes illustrating the ethical and philosophical teachings of this culture. But he was especially good in giving shape and colour to legends revolving around the rural traditions. Kalu Ram was one of the last artists to possess this kind of knowledge and to be able to hand it down, but he will be remembered particularly for his ability to interpret the great Indian pictorial tradition. he died in Jaipur on the 15th October 2010

Many Lives Lived #78

1970s

Gouache on paper

height: 33 cm (13 in)

Width: 43.5 cm (17 1/8 in)

Price : 1.250 GBP

aRtWORK pResented by:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Cycle of Life #04

1970s

Gouache on paper

height: 43 cm (17 in)

Width: 37 cm (14 1/2 in)

Price : 5.000 GBP

aRtWORK pResented by:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Kelani abass

Born in 1979, lives and works in Lagos, Nigeria.

Kelani Abass explores in his work the importance of material heritage and the archive as a bridge between past and present. The photographic image appears to be the starting point of a multilayered plastic work.

Being both a creative medium and a memory object, the picture happens to be dissected and analyzed in its multiple potentials. For his threedimensional works, the artist mixes original or painted ancient photographic portraits, metallic typefaces and other elements from the world of printing. The work on memory and the importance of archives takes another shape in his graphic pieces: as he multiplies numbered stampings marks on sheets of paper, Kelani Abass proposes a new comprehension of the image.

Scrap of Evidence (Madarikan)

2020

mixed media on wood (metallic letterpress, oil on canvas, digital print, rubber block)

36 x 38 cm

Price : 3.900 euros

E.:

The artist thus brings to light these fragile and personal testimonies of a bygone era of a Nigeria celebrating its independence. The image, studied through its making – its “factory”, reveals its ability to hold and store memory – a multiple, fragmented memory, reassembled, rewritten by the hands of the artist.

Trained at the Yaba College of Technology, Lagos, Kelani Abass had exhibited in Nigeria and internationally. Recent solo exhibitions include [Re:] Entanglements, Contemporary Art and Colonial Archives, National Museum Lagos in 2019 and if I could save time at CCA Lagos in 2019. In 2020, he has been selected to present his work at the 5th International Biennale Casablanca. Kelani Abass has taken part in several residencies and workshops including headlands Center for the Arts, San Francisco, California and Malt Air, Maltfabrikken, Ebetoft Denmark.

Stamping History (Ìrántí 3)

2020

hand numbering machine on paper

62 x 86 cm

Price : 4.900 euros

aRtWORK pResented by:

31PROJECT

T : +33(0)6 07 22 73 19

E.: contact@31project.com

Key sato

Key Sato (Sato Kei, 1906-1978) was active both in Japan and in Paris, France. he started his career as a figurative painter but is better known for his lyrical abstraction, his main focus after settling in Paris in 1952. As represented in this work, Sato created his unique universe suggestive of telluric, geology or fossils, in his painting.

Sato was born in Oita prefecture Japan and studied Western-style painting at the Tokyo School of Fine Arts. his talent was recognised at an early stage with his work being shown at national exhibitions such as the prestigious Teiten (The Imperial Fine Art Exhibitions) from 1929 while he was still studying.

Interested in the new art movements of the West, Sato moved to Paris in 1930 and exhibited at Salon d'Automne in 1931 and 1932. he was acquainted with various artists such as henri Matisse (1869-1954), Pablo Picasso (18811973) and Léonard Tsuguharu Foujita (18861968) through his artistic activities in Paris before returning to Japan in 1934.

In Japan at the time, with increasing governmental interference in establishments, artists’ freedom was becoming compromised. In an effort to free themselves from the influence of the authorities and to produce works with true freedom of expression, Sato and other like-minded artists founded the Dainibukai (The Second Art Circle) in 1935 and Shinseisakuhakyokai (New Creation Association, later Shinseisakukyokai) in 1936. Sato continued to present his works at their exhibitions throughout his career.

In 1952, Sato returned to Paris and settled there.

This is when he began to experiment with lyrical abstraction, suggestive of telluric, geology or fossils and he began to incorporate various natural materials such as rocks, stones and driftwood into his work, applying layer after layer to express his unique universe.

While having numerous solo shows, he also exhibited at the Carnegie International, Pittsburgh (1952), The Salon de Mai (1956, 1957), the 30th Venice Biennale (1960), the Japan International Art Exhibitions (Tokyo Biennale, 1952, 1961, 1963, 1965, 1967), the 1st Japan Art Festival (1966) and at the New Japanese Painting and Sculpture exhibition at the Museum of Modern Art, New York (1966-67).

In 1976, he was awarded the Order of the Sacred Treasure, Gold Rays with Neck Ribbon, a Japanese order established in 1888 by the Emperor Meiji and awarded for distinguished achievements.

Works by the artist can be found in the collections of various museums including: Musée National d'Art Moderne, Paris; The National Museum of Modern Art, Tokyo; Oita Prefectural Art Museum; Oita Art Museum; Nerima Art Museum, Tokyo; The Museum of Modern Art, Kamakura & hiyama; The Museum of Contemporary Art, Karuizawa, Nagano; Atheneum Art Collection, helsinki; Musée Communal, Verviers, Belgium; Tate Gallery, London; Musée d'Arts de Nantes; Musée d'Art Moderne de la Ville de Paris; Musée d'Art moderne et contemporain, Strasbourg.

For more about the artist visit our website http:// japanesescreens.com

Shizenshi / Histoire Naturel (2)

Signed and dated Key Sato, 77 to lower right; signed Sato Kei, Key Sato, titled and dated 77 to the reverse Oil on canvas

Dimensions: h. 38cm x W. 45.5cm

Price: 9.500 euros

aRtWORK pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

Krishna Reddy

Krishna Reddy (1925-2018) was born in Chittoor, Andhra Pradesh. Although he began his artistic education in India, Reddy went on to study and teach sculpture and printmaking in London, New York, and Paris, among other places. While in Paris, the artist joined Atelier 17, the studio of printmaker Stanley William hayter. There, hayter and Reddy pioneered “viscosity printing”, a technique that incorporates aspects of intaglio and relief printing. This approach allows for multiple colors to be applied to the same metal printing plate, using linseed oil to mix each paint to a different viscosity and thus preventing the colors from mixing. The discovery of this method increased the complexity of color printmaking while simultaneously simplifying technical processes. It remains one of Reddy’s most important contributions to the artistic world.

Krishna Reddy’s Jelly Fish of 1958 provides an outstanding example of the mixed color intaglio printmaking process. As the title demonstrates, the artist was inspired by nature throughout his career. Yet, rather than producing mere imitations of nature, the artist generally tended toward abstraction as exemplified by the present.

The background is consumed by a rough, grid-like pattern, atop which an explosion of white bursts emerge from two colorful discs in the distance and from behind a deep blue figure resembling a star. In the foreground, two contrasting star-like forms—the adjacent in white—radiate vertically and horizontally, echoing the lattice of the background. The multidirectionality of the lines, in conjunction with the contrast of deep blues and bright whites,elicits a sense of dynamism reinforced by the artwork’s textured appearance. The frenetic quality within these forms evokes an air of mystery and spirituality.

While the large white form at the center is suggestive of a jellyfish, the overall effect of this artwork conveys something greater. In line with his surrealist tendencies, perhaps the artist employed imagery of the ocean as a metaphor for the vast depths of the human consciousness.

This work is annotated “Epreuve d’Essai”, meaning “trial proof”, an edition of 100.

Jelly Fish

1958

Mixed color intaglio on wove paper

Image: 17 3/8 x 13 in. (44.1 x 33 cm.)

Sheet: 18 1/2 x 14 in. (47 x 35.6 cm.)

Price: 6.000 usd

aRtWORK pResented by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

Matsuda tomiya

Matsuda Tomiya (1936-2011) was born in Nara prefecture and studied ceramics at the Kyoto City College of Fine Arts. he was inspired by the dynamic ceramic circles of the time in Kyoto, notably Sodeisha (Crawling through Mud Association), the influential avant-garde ceramic group founded in 1949 by Yagi Kazuo (19181979), Suzuki Osamu (1926 - 2001) and Yamada hikaru (1923-2001).

Matsuda shared the same views as the innovative Sodeisha members and created sculptural works rather than traditional utilitarian pieces. he was active internationally, exhibiting at various exhibitions and teaching at the School of the Art Institute of Chicago (SAIC) as a visiting professor in 1967 and 1968. his wife Matsuda Yuriko (b. 1943) is also a ceramic artist and, returning from Chicago, they moved to Oshino village in Yamanashi prefecture, at the base of Mt Fuji, where they continued to create unique works.

Hanaike (flower vessel) signed Tomiya zo (made by Tomiya) and sealed Tomi

Sealed MT

Japan, 20th century

A ceramic vessel in black with an iridescent silver sheen in the form of a curving tube

h. 20cm x W. 42cm x D. 39cm

Tomobako (original box):

Price: 4.800 euros

aRtWORK pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

Mitsukuni Misaki

Mitsukuni Misaki was born in Chiba in 1951, and in 1972 when he was 21 years old, he met the world-famous scholar of porcelain and pottery, Fujio Koyama (1900–1975). he studied in a number of styles and locations before establishing his own kiln in 1979. he has since been exhibited at the Asahi Togei-ten, Chunichi Kokusai Togei-ten, Nihon Togei-ten (awarded) and Nihon Dento Togei-Ten (awarded). his works are in a class of their own, both in form and texture.

Living amidst the rapid changes of contemporary society, Misaki felt that he “wanted to live in a stationary time”, and pursue the images that rose naturally in his mind. he describes this condition as “rothkoing”, describing this as a state resembling the light emitted by colours in Mark Rothko’s paintings.

Misaki prefers to build up his forms by hand, imbuing the surface with a feeling of tension while producing works that seem almost weightless. he used white slip to create depth within the earthen tones of the light absorbing body texture.

Large saiyuudeiki tsubo

Signed at the bottom and enclosed in its original signed wooden storage box (tomobako)

1992

coloured stoneware

height : 46 cm

Price: 12.000 euros

aRtWORK pResented by:

Kitsune gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

Morris gibson tjapaltjarri

Morris Gibson Tjapaltjarri (b. 1957-2017) was the eldest son of Yala Yala Gibbs Tjungurrayi (c. 1924-1998) who was among the first group of Western Desert aboriginal artists to paint for an outside audience at Papunya (NT, Australia) in the early 1970s, instigating what is now commonly referred to as the desert acrylic movement and understood as the birth of contemporary Aboriginal art.

his mother was Ningura Napurrula, one of the most praised female aboriginal painter, so much that she was chosen along with seven other Australian Indigenous artists to have a large scale work incorporated in the architecture of the musée du quai Branly – Jacques Chirac.

Morris Gibson Tjapaltjarri dedicated his artistic carrier to representing sacred stories taught to him by his elders through initiation ceremonies. In this painting he represents two ancestral snakes seen from above that are related to a water hole where a group of mythical characters – the Tingari Men - camped. Since these events are of a secret nature no further detail was given.

The creatures are surrounded by countless concentric circles that represent as many sacred sites, mostly water holes. The dotted lines represent the path taken by the Tingaris when they went from one sacred site to the other.

Untitled 2011 acrylic on canvas 122 x 122 cm

© DR

Price on request

aRtWORK pResented by:

Arts d'Australie . Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

nishijima Chiharu

Born in Tokyo in 1951, Nishijima Chiharu is graduated from Kuwazawa Design School. She works and lives in Nara, the former Imperial Capital of Japan.

“When one examines woods like Zelkova serrata (keyaki) and cherry (sakura), one comes to realize that there are no straight lines or right angles in the natural world. The same is true of the human world, but modern life demands and values rationality and productivity, and compels us to violate the principles of the natural world. Our environment becomes fragmented and our overall vision tends to get blurred.

I am awakened by the word of Siddhārtha. This is not the voice of organized Buddhist religious communities, but the direct and actual voice of Siddhārtha, who lived and performed ascetic practices 2500 years ago. As the Zen Buddhist dictum puts it, “Humans are rooted in Heaven and Earth, and one with Myriad Things”. This refers to the importance of awakening the original self and regaining the sense of time of primordial ages. When I carve my works, I think of these - this is Humanity. My work is not a Buddhist sculpture as an object of worship, nor a European-style sculpture. What I carve is figures of humans when humans were free and dignified.”

Hito 1

2012

Keyaki wood (Zelkova serrata)

37 (h) x 35 x 19 cm

Price : 7.000 euros

aRtWORK pResented by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

Ono Kotaro

Ono Kotaro (b. 1953) is one of the leading artists in seihakuji ware (celadon glazed porcelain). he lives and works in the North of Japan (hokaido). here we present a rather unusual big vase (in comparison to other artworks from this artist) with a remarkable scene of carved lines.

Large Seihakuji vase

Circa 1990-2000

celadon glazed porcelain

h : 29,5 D : 29,5 cm

Price: 4.500 euros

aRtWORK pResented by:

Kitsune gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

noor ali Chagani

The youngest artist in the shortlist, Noor Ali Chagani, who graduated from the National College of Arts, Lahore was born and currently lives in Pakistan. Chagani was shortlisted for his two works 'Lifeline' (2009) and 'Infinity' (2009), sculptural works made from miniature terracotta bricks. Chagani translates his training in the principles of Mughal miniature painting into sculpture by using miniature hand made bricks to imitate large building blocks. Both works refer to the fundamental desires of man to provide a house for shelter.

The curves and movements of the bricks in 'Lifeline' are like a piece of cloth, serving as protection, shelter and wrapping, as clothes provide a second skin, yet made of brittle and hard bricks they define the toughness

and hardships of life’s daily struggle. 'Infinity' continues Chagani’s interest with bricks creating the illusion of an endless series of walls each made from hundreds of handmade bricks. The work reflects a view of history, the broken walls and homes of an ancient civilization and the endless hurdles and obstacles faced by man.

Noor Ali Chagani (b. 1982, Karachi, Pakistan) lives and works in Lahore, Pakistan. he completed a BFA at the National College of Arts, Lahore in 2008, specialising in Mughal, Persian and Indian miniature

painting. Since graduating he has exhibited both nationally and internationally with group shows in London, France, Italy, Dubai, America, India and Pakistan.

Life Line

2009

Terracotta brick and nylon strings

40 x 220 x 96.5 cm

(15 ¾ by 86 ¾ by 38 inches)

Price: 15.000 GBP

exhibition:

- Pasadena, February 18, 2010 – June 27, 2010

Beyond the Page: The Miniature as Attitude in Contemporary Art from Pakistan, Pacific Asia Museum, Pasadena, California 91101

- London, 21 July – 25 September 2011 - V&A, London, UK,

Jameel Prize 2011, (shortlisted)

V&A South Kensington, London SW7 2RL

- Paris, 6 December 2011 – 26 February 2012

Jameel Prize 2011 Tour, Institut du Monde Arabe, Paris, France

aRtWORK pResented by:

Joost van den Bergh

T.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

- Madrid, 28 March – 15 July 2012

Jameel Prize 2011 Tour, Casa Arabe, Madrid, Spain

- Stanford, 12 December 2012 – 10 March 2013

Jameel Prize 2011 Tour, Cantor Arts Center Stanford University, California, USA

- San Antonio, 24 May – 11 August 2013

Jameel Prize 2011 Tour, San Antonio Museum of Art, Texas, USA

print

Car Festival at Puri 1957

Linen backed lithograph 39 1/4 x 24 1/2 inches (99.7 x 62.2 cm.)

Price: 6.000 usd

Produced by the Advertising Branch, Ministry of Information & Broadcasting, Government of India, and issued by the Tourist Traffic Branch, Ministry of Transport. Printed in India by Associated Printers (Madras) Ltd., Madras

aRtWORK pResented by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

See India, Mysore Circa 1950s

Linen backed lithograph 40 x 24 1/4 in. (101.6 x 61.6 cm.)

Price: 6.000 usd

Issued by the Tourist Traffic Branch Ministry of Transport and published by the Advertising Branch of Information & Broadcasting. Printed in India by Associated Printers (Madras) Ltd., Madras

aRtWORK pResented by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

Visit India, Taj Mahal Circa 1950s

Linen backed offset lithograph 39 x 25 in. (99.1 x 63.5 cm.)

Price: 6.000 usd

Issued by the Ministry of Information and Broadcasting of the Government of India, Bangalore/Madras

aRtWORK pResented by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

sano Hiroshi

Sano Hiroshi was born in Jūshiyama, Aichi prefecture in 1930, and graduated the Nagoya Municipal School of Crafts in 1950. That year he joined the Ando Shippo Cloisonné studio. Three years later he would begin expanding his knowledge of metal craft under Sekiya Shiro while remaining employed by Ando, where he would remain until 1967. he became a member of the Kofukai in 1961 and would consistently exhibit there and be recipient of many awards. Shortly thereafter he began also to exhibit with the prestigious Nitten National Exhibition, garnering several awards and mentions there. In 1967 he established a center for the study of crafts and his art became ever more eccentric, delving deeply into form over purpose. A master in both metal craft and cloisonné, he would also be awarded at the Nihon Shinkogeiten (New Crafts Exhibition). he has been the subject of several documentaries in Japan (1978, 1983, 1988). For his contribution to the art world he was granted the Order of Cultural Merit from Aichi prefecture in 1982. he won the special prize of the metalwork department for the first time in this region at the 10th Nitten. he also served as a guide for the younger generation, sending young artists to the world. he has contributed to the promotion and improvement of the arts and culture of this prefecture.

Hammered vase

Signed at the bottom and enclosed in an original signed storage box (tomobako)

Late 1960’s

Green oxidized copper with highlights in silver (ear handles and collar)

h : 26,8 cm D : 19 cm

Price: 2.300 euros

aRtWORK pResented by:

Kitsune gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

serge dubuc

Born May 4th, 1962 in Paris. his taste for art and far off cultures began in his childhood, fueled by the proximity with "the neighbors from across the street" the Brauner family, (Théodore, brother of the artist Victor Brauner, Céline his wife, Marion and Dana their daughters) who were good friends of his parents. From age 6 to 16 Serge Dubuc studied drawing at the same time as attending school, and frequented the Musée d’art Moderne de la Ville de Paris, with an attraction for the surrealists movement.

1980-84 : he engaged in architectural studies, a career orientation error according to his own words ...which was followed up with some work experience in an agency, that quickly developed into a first reorientation towards scenography and decorative painting. 1993 to 1998 : Serge exhibits drawings and collages as part of open workshops (Bastille, Père Lachaise studios) 1998 : he has a decisive experience in Tahiti where he was working as a scenographer / painter decorator at the pearl museum in Papeete. This special moment in Polynesia was marked by a double encounter which acted as a revealer and turning point : First was his encounter with Rémi Carbayol, a renowned collector of ancient objects from the Pacific, followed by his discovery of the book "Oceanic Art" by Anthony Meyer. 1999 : Back in France, Serge begins a new reorientation towards the restoration of

sculptures and works of art, and leaves Paris (partially) to settle in Touraine. 2008 & 2011 : Serge undertakes two trips to New Guinea during which he fills notebooks with drawings, collects raw materials, ethnological information, and a few objects. Since 2011 Serge pursues his combined activities as a restorer and artist. Since 2020 : he has been working on a series of very “purified” portraits in India ink on kraft paper in parallel with another series of drawings where the text and lettering combines with the image often becoming an image itself ... Since 2021 : Serge has resumes his drawings of Papua in a vein linked to his previous style …

Portrait of Hannah Hoch 2020

Ink on kraft paper

30 x 20cm

Price: 390 euros

aRtWORK pResented by:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

setsuko nagasawa

Born in Kyoto in 1941, Setsuko Nagasawa trained as a traditional ceramist at the University of Fine Arts in her hometown, under the direction of Tomimoto Kenkichi. She opened her first studio in 1967. In 1973 she is invited to Scripps College in Claremont, California, where the American ceramist Paul Soldner (1921-2011) taught, which allowed her to open the doors to contemporary creation. In 1975 she entered the School of Fine Arts in Geneva and graduated in 1978 with a diploma as a sculptor.

Since 1985, she has taught at the School of Decorative Arts and at the Geneva School of Fine Arts in the ceramics department and was appointed head of the Design-Object section until 2005.

Notable exhibitions:

- Sèvres Museum, 2010, 2016, 2018

- Ariana Museum (Swiss Ceramics and Glass Museum) 1996

- The European Ceramic Work Centre, 's-hertogenbosch, the Netherlands

- Joan B. Mirviss Gallery, New York, 2012.

Public commissions:

Architectural projects, gardens and fountains, in Switzerland and France.

- Fountain of the Collège Rousseau, Geneva. (Chamotte and glazed porcelain. 1990)

- Colombarium of the Saint Georges Cemetery, Geneva, 1989.

It was in the mid-1990s that Setsuko Nagasawa (B. 1941) took a new direction in his work, creating figures inspired by geometry. A game was then established between the mastery of the material at the time of design and the surprises that firing brings. Perhaps this is what SN calls the "geometric illusion".

The geometric lines also make it possible to highlight the texture of the material, the essential shapes chosen by the artist are supported by textures without any desired effects, matt and rough.

The black areas are obtained using the smoking technique, which consists of plunging the part of the ceramic that you wish to blacken in wood chips during a new firing. This traditional technique was known to Japanese villagers in order to waterproof the tiles on their roofs.

Reference: Viatte, Thibaudat, L'Epine, 8 Artistes & la Terre, Editions Argiles, 2009, p.165.

Geometric sculpture

Signed SN, 2008, Paris. Partly smoked white porcelain slabs assembled

h. 40.8 cm; 43.5 x 42.8 cm

Price: 4.100 euros

publication:

Viatte, Thibaudat, L'Epine, 8 Artistes & la Terre, Editions Argiles, 2009, p.279

aRtWORK pResented by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

Dish Signed SN, 2002

Stoneware with pyrites and feldspath

h. 12.3 cm; 41 x 40.5 cm

Price: 3.600 euros

aRtWORK pResented by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

This dish was made from Shigaraki clay and fired in a traditional Anagama wood-kiln in Shigaraki. Within the framework of the exhibition Ceramic from Switzerland, from Renaissance until present which took place in 2002 in Japan, the artist was invited to the Shigaraki Ceramic Centre where she was able to create a number of dishes which were exhibited (including the one we are presenting).

A sturdy dish, of fine dimensions, to which flexibility is given by the effect of the central fold and the four raised corners. Fine shades ranging from light beige (some areas left in reserve) to earthy dark ochre.

For similar dishes, see: Viatte, G., Thibaudat, J.P., L'Epine, A. de, 8 Artistes et la Terre, Editions Argiles, 2009, p.168

shiro tsujimura

Shiro Tsujimura (b. 1947) is known today as one of the greatest potters in Japan. however, he started as a calligraphist and here we see, many years later, a return to his old passion. The calligraphy represents the kanji for “Yama Gawa”, mountain river.

his artworks are in numerous collections : Asian Art Museum of San Francisco, USA

Auckland Art Museum, Chapel hill, USA

The British Museum, London, UK

The Brooklyn Museum of Art, USA

Chado Research Center Gallery, Kyoto, Japan

Cleveland Museum of Art, USA

Museum of East Asian Art, Berlin, Germany

Frankfurt Craft Museum, Germany

Freer Gallery of Art - Sackler Gallery, Washington, USA

ISE Cultural Foundation, Japan

The Metropolitan Museum of Art, New York, USA

Miho Museum, Japan

The Minneapolis Institute of Arts, USA

Museum of Fine Arts, Boston, USA

Spencer Museum of Art, USA

Stockholm Museum of Art, Sweden

Yale University Art Gallery, USA

Sumi-e calligraphy

Circa 2015

Ink on Japanese paper

h : 63 W : 97 cm

Price: 5.700 euros

aRtWORK pResented by:

Kitsune gallery

T.: +32 476 87 85 69

E.: arie.vos@kitsune.be

suda Kokuta

Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. he is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Born in Saitama prefecture Japan, Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushi-ji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

Untitled

Signed Koku to lower left; signed and dated 1961.12.10 to the reverse

Oil on canvas

h. 91cm x W. 73cm

Provenance: Private collection, Osaka

Price on request

aRtWORK pResented by: Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

Untitled

Signed Koku to lower right

Mixed media on paper

h. 81cm x W. 61.5cm approx.

Provenance: Private collection, Osaka, Japan

Price: 9.500 euros

aRtWORK pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

In 1949, he met hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with hasegawa, Suda realised the essence of Zen is abstract and shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

In 1955, Suda was invited by Yoshihara Jiro (19051972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA.

In the 1970s, Suda returned to figurative representation but this time a trace of abstraction

remained on his canvas. he enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory. By this time, he was also practicing calligraphy and expressed philosophical words in ink with dynamic lines full of vitality. his obsession for the quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avantgarde calligrapher Inoue Yuichi (1916-1985) likened Suda to the old masters hakuin (16851768) and Tessai (1836-1924), both renowned as calligraphers as well as painters.

Throughout his life, he pursued his own art, continuously achieving breakthroughs in his creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http:// japanesescreens.com

sugiura noriyoshi

A native of Sendai, on Japan’s main island of honshu, Sugiura Noriyoshi is a graduate of the School of Engineering, Osaka University. In 1997, he decided to train in the arts of bamboo and moved to Beppu (Kyūshū), where he studied for two years at the Ōita Prefectural Beppu Technical College and then at the Beppu Industrial Art Crafts Institute, now unified as the Ōita Prefectural Bamboo Art Crafts and Training Support Center. When he finished his training, he became the apprentice of Watanabe Chikusei II (b. 1932), then of Okazaki Chikubōsai II (b.1933), before opening his own studio. During the National Sports Festival of Japan events held in Ōita in 2008, one of his baskets for ikebana entitled Sugomori was presented to the Emperor of Japan.

Koseibutsu (Ancient Creature)

2017

Bamboo madake and urushi

lacquer

62 x 47 x 34 cm

Tomobako

Price : 17.000 euros

aRtWORK pResented by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

tang Haywen

An exact contemporary of Zao Wou-Ki and Chu Teh Chun, the two other great Chinese painters who lived in Paris during the second half of the 20th century, Tang haywen also knew how to bring an original response to the painting of his time.

An artist who did not choose ink against modernity, nor did he oppose abstraction and figuration. His work was not there, Tang sailed with great freedom, following his path borrowing from both China and the West, modernity and spirituality.

It was probably not the easiest path, but he led it remarkably well.

In the end, it was to a certain solitude that he gave himself up, working a lot, producing a significant body of work. Amongst his numerous works, one is struck by the great diversity of the compositions and techniques used, where experimental research seems to be the path taken. Moreover, one cannot help but think of the meditation and the precise and lively gestures of the Zen painters.

Untitled Signed lower right Ink on paper

70 x 100 cm

Price on request

aRtWORK pResented by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

taylor Cooper

Taylor Cooper (born in 1940) is a respected elder who teaches his people’s culture to the younger generations through ceremonies and art. Born near Malara (South Australia), a sacred water hole, he paints stories associated with it. h is pictural technic and style derive from the art of sand painting in which large areas are drawn and colored with natural pigments, hence the monumental size of his paintings on canvas. These have to be seen as mythical maps: the concentric circles tell of sacred sites - seen from the sky - found on his family’s territory. The dotted lines tell of sacred trails followed by ancestors. The different colors represent the soil as well as the plants’ flowers that blossom after rain season.

Malara: Wanampi Tjukurpa

2018 acrylic on canvas

196 x 184 cm

© DR

Price on request

aRtWORK pResented by:

Arts d'Australie . Stéphane Jacob

T.: + 33 (0)1 46 22 23 20

E.: sj@artsdaustralie.com

temitayo Ogunbiyi

Born in Rochester, USA in 1984, lives and works between Lagos in Nigeria, the United States and Jamaica.

As a visual artist, Temitayo Ogunbiyi works with a range of media whose possibilities and distortions she explores through installation, sculpture, collage and drawing. For this artist living between two continents, the essential thing is to produce a work that is always connected to the place of creation. her work questions the exhibition space by highlighting the correspondences and channels of communication that are created between the object and its direct environment.

From 2016, she focused her practice on drawing, focusing on the mixing of shapes by inventing unexpected fusions between Nigerian hairstyles with geometric lines and botanical elements inspired by old botanical illustrations. Through the precision of the line and the organic development of forms, the work questions its multiculturalism and its diasporic heritage. With an intimate drawing mixing ethnological and botanical references, the artist tries to find a

fragile balance between her personal history and the movements of history in the broadest sense.

Trained at Princeton (2006, Bachelor of the Arts) and Columbia (2011, Master in Curatorial Studies and Critical Art Theory), Temitayo Ogunbiyi participated in 2012 in the group show The Progress of Love at the Pulitzer Art Foundation in St. Louis and the Center for Contemporary Art in Lagos.

She has also collaborated with the Tiwani Contemporary Gallery in London in 2016, Medium Tings Gallery in Brooklyn in 2017, Gallery of Small Things in Dakar in 2018 and for the exhibition Women on Aeroplanes at TOR Art Space in Frankfurt. She exhibited in 2015 at the Jogja Biennale in Indonesia, the Dakar OFF Biennale in 2014, the 10th Berlin Biennale in 2018 and the 2nd Lagos Biennale in 2019. In 2018, she participated at the Smithsonian Artist Research Fellowship.

her artworks have entered several important institutional and private collections, including the musée du Quai Branly.

You will wind past vacuous dreams and throug thorned gates 2020 pencil on paper 49 x 34,5 cm

Price : 2.600 euros

aRtWORK pResented by: 31PROJECT

T : +33(0)6 07 22 73 19

E.: contact@31project.com

Yonezawa Jirō

A native of the island of Kyūshū, Ōita Prefecture, Yonezawa Jirō has been practicing the art of bamboo for more than thirty-five years. After training at the Beppu Vocational Arts Training Center, he spent a year as an apprentice to the artist Masakazu Ono, then continued his training at the Ōita Prefectural Industrial Art Research Institute. He is the only artist in his field to have sejourned in the United States, where he lived and worked for eighteen years. Influenced by and influencing the American fiber art movement, his work became bolder, making way for sculptural works. Since 2008 he has been living in his native village, where he built his studio. Exhibited throughout the world, his works are held in many American collections.

The regenerative quality of bamboo inspired his fascination for this hollow grass. The images, sounds, and sensual and emotional experiences of daily life find a new expression through his hands, from which woven sculptures and vessels spring forth. For him, the "process of preparing strips to weave and then weaving forms from those strips is inherently meditative. The cacophony of life dissipates; the sculpture emerges vigorous and vibrant. Form, contrast, balance, and the interplay of space, color, and texture" are constitutive elements of his œuvre.

Lotus Pond

2016

Bamboo madake and urushi lacquer

65 (h) x 65 x 23 cm

Tomobako

Price : 5.000 euros

aRtWORK pResented by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

Stag Beetle

2020

Bamboo madake and urushi lacquer

46 (h) x 30 x 25 cm

Tomobako

Price : 5.800 euros

aRtWORK pResented by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

Cocoon 2020

Bamboo madake, metal and urushi lacquer

62 (h) x 21 x 21 cm

Tomobako

Price: 9.000 euros

aRtWORK pResented by:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

yoshimi Futamura

Yoshimi Futamura (B. 1959) is a Japanese ceramist born in Nagoya and living in Paris since 1986.

her works seem to be natural, mineral or organic creations. They can evoke a rock face, a geological substratum, vegetal or animal organisms.

The names given to these works, such as Ecorce, Roots, Rhizomes, Earthen Waves, bear witness to this.

The sometimes random reactions of the firing process also accompany the artist's work through the transformations made.

The effects produced are often contrasting and expressive, such as creases, crushing, burns, given by cracks, irregularities, differences in thickness.

Rough surfaces can also be emphasised by the contrast of more traditional and smooth sophisticated glazes in the vicinity.

Bol Ecorce

Signed on the foot

Encrusted feldspar stoneware, with cobalt and iron glaze inside h. 17 cm

Price: 1.200 euros

aRtWORK pResented by:

Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com

Works in the collections of:

AIC Ariana Museum in Geneva

Yale University Art Gallery, USA

Musée National des Arts asiatiques –Guimet, Paris

The Brooklyn Museum, USA

New Taipei City Yingge Ceramics Museum, Taiwan

World Ceramic Exposition Foundation, Korea

Shimoda City Museum,Shizuoka, Japan

Zhan Wang

Zhan Wang (b.1962) was born in Beijing and attended the Beijing Industrial Arts College from 1978 until 1981. In 1983 Zhan began his sculpture studies at the Central Academy of Fine Arts (CAFA) and graduated in 1988.

Deeply inspired by a combination of both traditional and contemporary Chinese philosophy, culture and society Zhan’s sculptures have been very successful both in China and the rest of the world.

The ongoing series of Artificial Rocks, which Zhan began in 1995, is the main body of his sculptural work and one of his most celebrated projects. By creating stainless steel sculptures in the form of Chinese Scholar’s Rocks, traditionally used by Chinese scholars for meditating purposes, Zhan comments on our inability to retreat from the tangible world through absorbed contemplation. The indefinite mirrored images of the surrounding world reflected on the surface of the metallic Artificial Rock is a reminder of how far apart the human and natural world have grown and that a new futuristic material is needed to express the dreams and aspirations of modern China.

his recent work is inspired by the emerging tensions in the urban space as seen in the quickly developing cityscape, Zhan creates works which open a dialogue between new technologies and cultural traditions.

Zhan currently lives and works in Beijing

Scholar's 'Rock'

Signed Zhan Wang in Chinese dated 2006 and numbered 3/4 stainless steel on a wood base

Dimensions:

Sculpture: h. 53.5cm x W. 33cm x D. 20cm

Sculpture with stand: h. 68.5cm x W. 36cm x D. 26.5cm

Provenance: commissioned directly from the artist via Olivia Oriental gallery, London

Price on request

aRtWORK pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com