Reflect・Composition 16
制作年份: 2026
材料或技法: 铁, 钢
尺寸: 26 × 40 × 18 cm
版本: 独特
签名:没有设置

关于作品
- 制作年份
- 2026
- 材料或技法
- 铁, 钢
- 尺寸
- 26 × 40 × 18 cm
- 版本
- 独特
- 签名
- 没有设置
- 画框
- 不包含
- 作品证书
- 包括
- 艺术品分销商
- Takeshi Takamatsu
- 发货区域
- 没有设置
- 发送前的天数
- 没有设置
- 类别
- 雕塑
- 风格
- 抽象的
作品详情
concepts
The back-and-forth trace of action being reflected by iron and bounces back is called a “reflection composition.” For production, iron is modeled using only hands and bodies without using fire, tools, or machines. I'm thinking about how to overcome the existing image of iron by making it by hand.
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艺术家
iron sculpture
The material called iron has a history of being used as a structural material for weapons and buildings. Hard, heavy iron has been closely linked to the genealogy of human technology and violence. Above all, since modern steel is inexpensive and has structural strength, it is treated as a material optimized for capitalist production and supply systems. Specialized techniques and tools have been essential for this processing. I create works by bending this iron by hand. Keep a distance from tools and institutionalized technology, and throw on life-size effects. We are trying to elicit relationships with physicality that are different from what iron talks about. Technology cannot be completely separated from production. Technology inherently has the power to “bring things forward.” It is not a method that can be predicted for the right purpose, and it is linked to technology in a way that does not go the way one wants, including failures, accidents, and errors. Jacques Rancière's “emotional partage” re-questions the conditions of what can be visualized and who can be opened to it. During production, the hardness of steel, physical strength, and the modeling we are aiming for. When they are parted (splitted/shared), I feel like I can move away from the image that iron has.
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