Artist : Nobuo Sekine
Year : 2014
Size : –
Media : –
connection between this artwork and my practice:
“These works mark a crucial shift in Sekine’s practice — away from a focus on raw materials and malleability toward the surface qualities of solidified forms. Sekine deliberately made it difficult to identify the material used to create these works — at first glance it is not evident whether they are made of stone, glass, metal, or plastic. When installing these works, Sekine considers their placement to be a “topological scene” governed by aesthetic principles similar to those found in Zen rock gardens — namely, asymmetric arrangements of disparate elements that combine to represent a broader landscape of seas, islands, and mountains. ” (Blum & Poe 2019)
The interesting part of this artwork is the way Sekine has moved away from the materiality of material in this artwork deliberately and only focused on form and surface identity. We can still see that the relationship of the object with the space is one of the important elements of the artwork. It is interesting to see how making materiality of the object less important would shift our perception to other elements in the artwork such as contrast between the surface, shapes, aesthetic, connection to zen garden stone, placement or any other border readings .
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