{"id":1185,"date":"2019-04-07T20:44:53","date_gmt":"2019-04-07T10:44:53","guid":{"rendered":"https:\/\/blog.elnaz.melbourne\/?p=1185"},"modified":"2019-04-14T10:50:50","modified_gmt":"2019-04-14T00:50:50","slug":"blum-poe","status":"publish","type":"post","link":"http:\/\/localhost\/2019\/04\/07\/blum-poe\/","title":{"rendered":"Little Known Series Black FRP"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

Artist<\/strong> : Nobuo Sekine<\/p>\n\n\n\n

Year<\/strong> : 2014<\/p>\n\n\n\n

Size<\/strong> : –<\/p>\n\n\n\n

Media<\/strong> : –<\/p>\n\n\n\n

connection between this artwork and my practice:<\/strong><\/p>\n\n\n\n

 “These works mark a crucial shift in Sekine\u2019s practice \u2014 away from a focus on raw materials and malleability toward the surface qualities of solidified forms.<\/em> Sekine deliberately made it difficult to identify the material used to create these works \u2014 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 \u201ctopological scene\u201d governed by aesthetic principles similar to those found in Zen rock gardens \u2014 namely, asymmetric arrangements of disparate elements that combine to represent a broader landscape of seas, islands, and mountains. ” (Blum & Poe<\/a> 2019)<\/p>\n\n\n\n

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 . <\/p>\n\n\n\n

\n\n\u00a9 2019 BLUM & POE. ALL RIGHTS RESERVED.\n\n<\/p>\n","protected":false},"excerpt":{"rendered":"

Artist : Nobuo Sekine Year : 2014 Size : – Media : – connection between this artwork and my practice:  “These works mark a crucial shift in Sekine\u2019s practice \u2014 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 … <\/p>\n