The egg (dead garbage)
Year: 2024
Material/Technique: Resin, Paint, Plaster, Others
Size: 35 × 12 cm
Edition: Unique
Signed:Included
This artwork is available for purchase.
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Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.

About the Work
- Year
- 2024
- Material/Technique
- Resin, Paint, Plaster, Others
- Size
- 35 × 12 cm
- Edition
- Unique
- Signed
- Included
- Frame
- Not Set
- Work Certificate
- Not Set
- Distributor of artworks
- yuka emi
- Ship-from Area
- Kyoto
- Days Until Dispatch
- Not Set
- Category
- Sculpture
- Style
- Abstract, Others, Conceptual, Outsider Art
Work Details
The oval shape, like an egg, symbolizes the shell of “correctness” that each person has. The beauty of its smooth curves expresses the ideal figure we want to show to the outside world. However, various materials are mixed inside it, and instinctive and sometimes ugly feelings swirl around, just like the inside of a human body.
The marks engraved on the surface of the work evoke memories directly connected to our inner world, like a belly button.
The title “dead litter” indicates a state where life is supposed to grow inside an egg, but it decays without hatching.
This suggests feelings that have solidified between ideals and reality that lurk within us, and essential parts that we have held in our own way without being able to express them.
Ideals and reality, beauty and beauty, life and death, exterior and interior—
I think our true nature lurks in places where they intersect.
How to Buy
This artwork is available for purchase.
ASK
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
sculptor
Since 2023, based in Kyoto, I have been producing and exhibiting three-dimensional works.
Without being bound to specific materials, I focus on giving form to imagined images.
I continue to explore a broad range of methods and mediums, working from the position of a mediator—someone who brings internal images into material existence—while questioning whether the "pain," "friction," or "distortion" that arises in the process of realizing these images might be essential conditions for the work to retain its own autonomy.
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