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Maho MaedaAncestral sound #41 by Maho Maeda - Abstract painting, canvas, wood, flora, dark2013
2013
About the Item
Ancestral sound #41 is a unique painting by contemporary artist Maho Maeda. This painting is made with acrylic, coloured pencil and ink on cotton canvas and carved wood, dimensions are 67 × 91 cm (26.4 × 35.8 in).
The artwork is signed, sold unframed and comes with a certificate of authenticity.
This piece is made up of two panels that have been put together, giving it two different surfaces: canvas and wood. The artist enjoys experimenting with various mediums and methods; in this case, she uses acrylic paint, ink, and coloured pencils, carving her lines into the wood with a knife.
Nature and its sounds are the subject of Maho Maeda's artistic inquiry. Beginning with an observation of nature, the artist asks what sounds characterize it and how to translate them into images. The sound traces in her works are changed into lines that move, turn, transform, and break. The lines cross the surface or the various surfaces to form aesthetically pleasing compositions that are both powerful and poetic.
- Creator:Maho Maeda (Japanese)
- Creation Year:2013
- Dimensions:Height: 26.38 in (67 cm)Width: 35.83 in (91 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803114329732
Maho Maeda is a Japanese artist who lives and works in Mexico City, Mexico. Her research, which centres on nature and its sounds, takes shape in harmonious pictorial compositions from which emerge both strength and poetry. In her works, the sound traces are transformed into lines that move, change direction, transform and break. Abstract shapes and patterns complement the paintings, evoking natural elements such as leaves, bird wings and buds. The artist combines several materials in her work, such as acrylic paint, oil, ink and pencil, and uses a variety of media, such as canvas, wood and fabric. “Living beings, non-living things, everything has its own ‘history’ and eventually disappears. [...] The histories of each of them is immeasurable. I close my eyes, and then I ponder and evoke them.”
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