《まれ3》、《まれ2》、《花独鈷》

Year: 2024

Material/Technique: Wood, Mixed Media, Pigment, Stone

Size: 左:H61 ×W23 ×D14 cm(+台座 H90 ×W20 ×D20)、中:H62 ×W17 ×D14 cm(+台座 H91×W22×D20)、左:H57 ×W18 ×D18 cm(+台座H91 ×W21 ×D21)

Edition: Unique

Signed:Included

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《まれ3》、《まれ2》、《花独鈷》

About the Work

Year
2024
Material/Technique
Wood, Mixed Media, Pigment, Stone
Size
左:H61 ×W23 ×D14 cm(+台座 H90 ×W20 ×D20)、中:H62 ×W17 ×D14 cm(+台座 H91×W22×D20)、左:H57 ×W18 ×D18 cm(+台座H91 ×W21 ×D21)
Edition
Unique
Signed
Included
Credits
© Masato AKAI / Courtesy of Gallery OUT of PLACE
Frame
Negotiations
Work Certificate
Included
Distributor of artworks
Gallery OUT of PLACE
Ship-from Area
Nara Prefecture
Days Until Dispatch
展覧会終了後 2、3週間以内。お急ぎの際はお問合せください。
Category
Sculpture

Work Details

赤井正人「こそうのいわや」展示風景より

画像左より

《まれ3》

H61×W23×D14cm

台座 H90×W20×D20cm

欅、焼き入れ、顔料、アクリル、鉱石

2024

¥205,700- (作品 79,000- 、台座 108,000-)

税込、台座込み

《まれ2》

H62×W17×D14cm

台座 H91×W22×D20cm

桑、顔料、アクリル

2024

¥198,000-(作品60,000-台座 120,000)

税込、台座込み

《花独鈷》

H57×W18×D18cm

台座 H91×W21×D21cm

檜、焼き入れ、顔料、アクリル、鉱石

2024

¥199,100- (作品61,000-台座 120,000-)

税込、台座込み

*木箱などが必要になった場合は別途

*運送費別途

3点セットで購入の場合には特別価格有り。お問合せください。

制作手法

※手法 材を彫る→鉱石を埋め込む、着彩(アクリル、油彩等)→焼く→アクリル系メディウムで表面をコーティング。

※道具 オノ、ノミ、電気工具類(チェーンソー、グラインダー、カンナ等)ガスバーナー、具について入力してください。

制作時間

新作は約1年(メインのお面の作品) 

制作場所

制作場所は住んでいる地域(奈良県天川村)約海抜820mてについて入力してください。

作品タイトル

こそう(古層)=古代から積み重なった歴史や文化

いわや(窟)=洞窟、洞(ほら)、ほと、隠、陰

Exhibition Information

Past Exhibitions

How to Buy

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Artist

Masato Akai
✔︎

1981 Born in Tenkawa Village, Yoshino, Nara Prefecture 2003 Graduated from the Nara College of Art Solo Exhibition‍ 2020 UTSUSE no HO/Gallery OUT of PLACE TOKIO, Tokyo | Japan 2017 Kotoyonohora/Gallery OUT of PLACE NARA, Nara | Japan 2017 Tsukamorinome/Gallery Asuka, Nara | Japan 2008 Setsuryosha Firenze Prize Exhibition, Niigata | Japan 2006 The Eyes of the Inner Man/Kita Museum of Art, Nara | Japan 2005 L'Espoir/Surugadai Gallery, Tokyo | Japan The Kii Mountains connecting through Nara, Wakayama, and Mie Prefectures, have long been worshipped since ancient times as land inhabited by Kami.* Ideas having entered from the outside close to 1,300 years ago, the region even came to be associated with Chinese legendary paradises, such as the “Peach Blossom Spring” and the enchanted lands of sages, becoming a site of faith to this day. Having played and grown up in these mountains of faith, I strove to become a painter, capturing people’s realities and fantasies long associated with the ancient mountains. Through them, we can consider the lives of its inhabitants, the coming and going of many kinds of people, and the shaping and telling of legends, stories, and histories. We may even consider contemporary issues, such as the change in environment, and our current society that continues to progress at a rapid speed. I am an observer of everything in contemporary society through the eyes of a painter, yet sometimes I turn my back to shut out all of this. I would like to search out what I can accomplish as a painter living in the contemporary era, while also living simply as one human in the mountains. *In Shinto belief, Kami are ancient deities residing in the natural world.

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Last updated date
04.09.2024
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