Chiharu Shiota

Endless Line by Chiharu Shiota - Contemporary, Abstract, Large-scale

2021

Untitled by Anish Kapoor (b. 1954) Oil on canvas Overall dimensions: 122 cm (48 inches) composed of 2 parts of 61 x 61 cm (24 x 24 inches) each Signed and dated on the stretcher, An...

Red riding hood, violent dominations and perils of seduction by Lélia Pissarro (6. 1963) Black acrylic, white resin, vermillon pigment and gold dust 97 x 130 cm (38 ¹/₄ x 51 ¹/₈ inch...

Vagues “Wave” by TOSHIMITSU ÏMAI (1928-2002) Acrylic on paper 127 x 95 cm (50 x 37 3⁄8 inches) Signed in Japanese and English lower right, inscribed and dated 1992 on the reverse Provenance: Studio of the artist Dr Jean-Paul Coussy (Director of MCAP Museum, France), acquired directly from the artist, March 15th 1998 Dr Giorgio Tosetti, Italy, acquired from the above Exhibitions: Paris, Galerie Chozo Yoshii, Hommage à André Malraux - Les voix du Silence, September - November 1997 Literature G. C. Calza, Imaï, Electa, Milan, 1998 (Onde/Waves series) Artist biography: Born in Kyoto, Japan in 1928 Imai was part of the 20th century Japanese avant-garde. He began his formal education at the Tokyo State Art Academy where he took up painting. His early works are characterised by colourful abstractions, reminiscent of Favuism. In 1951 Imai was awarded the Kansai-Shinseisaku Prize and in 1952 the prize for the best new artist at the 15th Shinseisaku Salon. Imai relocated to Paris in 1953, the same and subsequent year he exhibited at the Salon de L’Art Sacré. Meanwhile, he attended the Académie de la Grande Chaumière and the Sorbonne to read medieval history and philosophy. In 1955, Imai completely abandoned representational art in favour of abstraction. After meeting the art critic Michel Tapié via the artist Sam Francis, Imai was the first Japanese artist to join the Art Informel movement. In 1956 Imai was called upon by the Japanese artist Taro Okamoto to curate an exhibition entitled The World: Today’s Art in Tokyo. Artists such as Jean Dubuffet, Jean Fautrier, Lucio Fontana, and Karel Appel gained important exposure in Japan. It was also in 1957, when Imai arranged for Tapié and the artists Georges Mathieu and Sam Francis to travel to Japan, that a connection between Art Informel and Gutai occurred. The Ashiya-based Gutai Art Association formed in 1954 was proclaimed a kindred spirit by Tapié which he subsequently promoted internationally. Founding members included Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo and Shozo...

One Day by Lélia Pissarro (b. 1963) Oil on canvas 146 x 114 cm (57 ½ x 44 ⅞ inches) Signed and titled on the reverse Executed in 2008 Literature Lélia Pissarro, The Colours of Silen...

"Second Skin", 2014 Photoengraving Signed and numbered Edition of 30 In mint condition (as acquired from the publisher) The pieces are offered unframed Edition numbers might vary fro...

Chiharu Shiota "I HOPE..." 2021 stainless steel, heat-resistant satin glass, transparent Din A5 sheets Edition of 100 + 20 APs 120 x 120 cm 28 x printed artworks by the artist 65 x...

Oil on linen Dong Ya-Ping is a Chinese artist born in 1974 who works & lives in Beijing, China. The story of her lines goes back to 2007. The LINE is a sign of her existential trace...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...