Artist:
Yasuda Kan
Title:
Myomu
Year:
2014
Adress:
Tokyo Midtown
Between extremes
Could Myomu by Yasda be a handle? It puts me in confusion: what could happens when I pull this out? Would it be possible to pull up with this handle a slice of earth?
Or would this be a part of a zipper to close a coat? Then I would have suddenly a very small size.
Or is this a mountain seen from above? Then I would be huge. Now I'm in confusion again: am I hovering now above a mountain?
Myomu by Yasda Can tickles my imagination and let me feel extremes like I’m very small or I’m very big.
By Theo, www.artatsite.com
Tussen uitersten
Zou Myomu van Yasda Kan een handvat zijn? Het brengt mij in verwarring: wat gebeurt er wat ik eraan trek? Zou het mogelijk zijn om met dit handvat een schijfje aarde omhoog te trekken?
Of zou dit een oogje zijn om een jas dicht te doen? Als ik hieraan denk voel ik mij ineens enorm klein worden.
Of is dit een berg van bovenaf gezien? Dan zou ik enorm groot zijn. Ook nu ben ik verwarring: zweef ik nu boven een berg?
Myomu van Yasda Kan prikkelt mijn fantasie en laat mij uitersten voelen zoals héél klein of héél groot zijn.
By Theo, www.artatsite.com
www.360cities.net:
At Tokyo Midtown, Roppongi, Tokyo. This black ring is Kan Yasuda's "MYOMU" (means weird dream in Japanese.) There are same scalptures in the whole world.
www.theculturetrip.com:
The diverse structures in Kan’s collection are united by what can only be described as a meditative tranquility. The fact that some of his works have been exhibited alongside classical monuments in several of Italy’s historic cultural sites, including the ancient Imperial Roman Forum, demonstrates that these sculptures defy temporal limitations and reach back to something classical.
Working in both marble and bronze, Yasuda carves and casts every work himself, thereby investing something ] human in the stone and evoking the history rooted in Pietrasanta, which holds that sculptors tie themselves to their landscape.
Lineless, boundless, Yasuda’s sculptures appeal to the relationship between humans and nature and achieve a sublimity that defies most artists.
www.christies.com
The absorbing forms of Yasuda’s sculpture reflect elements of the natural world, which are designed to reflect the viewing experience. The pieces are both monumental and domestic in scale, and engaging in form and material.
They benefit from careful contemplation and contract with the machine age architecture of New York City against which they exert a powerful spiritual force.
Could Myomu by Yasda be a handle? It puts me in confusion: what could happens when I pull this out? Would it be possible to pull up with this handle a slice of earth?
Or would this be a part of a zipper to close a coat? Then I would have suddenly a very small size.
Or is this a mountain seen from above? Then I would be huge. Now I'm in confusion again: am I hovering now above a mountain?
Myomu by Yasda Can tickles my imagination and let me feel extremes like I’m very small or I’m very big.
By Theo, www.artatsite.com
Tussen uitersten
Zou Myomu van Yasda Kan een handvat zijn? Het brengt mij in verwarring: wat gebeurt er wat ik eraan trek? Zou het mogelijk zijn om met dit handvat een schijfje aarde omhoog te trekken?
Of zou dit een oogje zijn om een jas dicht te doen? Als ik hieraan denk voel ik mij ineens enorm klein worden.
Of is dit een berg van bovenaf gezien? Dan zou ik enorm groot zijn. Ook nu ben ik verwarring: zweef ik nu boven een berg?
Myomu van Yasda Kan prikkelt mijn fantasie en laat mij uitersten voelen zoals héél klein of héél groot zijn.
By Theo, www.artatsite.com
www.360cities.net:
At Tokyo Midtown, Roppongi, Tokyo. This black ring is Kan Yasuda's "MYOMU" (means weird dream in Japanese.) There are same scalptures in the whole world.
www.theculturetrip.com:
The diverse structures in Kan’s collection are united by what can only be described as a meditative tranquility. The fact that some of his works have been exhibited alongside classical monuments in several of Italy’s historic cultural sites, including the ancient Imperial Roman Forum, demonstrates that these sculptures defy temporal limitations and reach back to something classical.
Working in both marble and bronze, Yasuda carves and casts every work himself, thereby investing something ] human in the stone and evoking the history rooted in Pietrasanta, which holds that sculptors tie themselves to their landscape.
Lineless, boundless, Yasuda’s sculptures appeal to the relationship between humans and nature and achieve a sublimity that defies most artists.
www.christies.com
The absorbing forms of Yasuda’s sculpture reflect elements of the natural world, which are designed to reflect the viewing experience. The pieces are both monumental and domestic in scale, and engaging in form and material.
They benefit from careful contemplation and contract with the machine age architecture of New York City against which they exert a powerful spiritual force.