Whose Sleeves? No.3 | TETSUO SUZUKA
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Whose Sleeves? No.3 | TETSUO SUZUKA

Whose Sleeves? No.3

Size : left 60.2"x33"(153x84)cm right 60.2"x33"(153x84)cm
Material : MIXEDMEDIA(damaged GOLD LEAF.ACRYLIC,GRAPHITE)
2014


Whose Sleeves? No.3 | TETSUO SUZUKA

A short-sleeved kimono on the clothes rack, it evolved from an undergarment to a tunic worn outside during the Heian era. Then, from the 16th century Momoyama until Edo periods, it transcended a mere garment, becoming an object of visual appreciation in folding screen paintings.

Without a background or human characters, these compositions bring kimono into extreme focus, creating a unique genre of modern painting with fabric as the central motif.

In the West, 19th century impressionist Edouard Manet is well known for erasing background scenery. In ``The Fifer,'' surroundings envelop a young boy playing the flute.

This work adopts that stark aspect of kimono painting as one of the symbols of Japanese culture.

The decorative pattern of seasonal flowers and grasses dates back to antiquity, contrasted with digital minimalism of the present that enfolds it.

These divergent vectors appear to gravitate to the respective elements that cast them, while at the same time blending together.

WHOSE SLEEVE? it seems to ask, creating a sensation of a thought in flight.