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Dai Ban
Hope You Don't See Me (Abstract Geometric Wall Sculpture in White and Gray)

2022

About the Item

Abstract geometric, minimalist wall sculpture in white and grey Precision board, Venetian Plaster, pigments, and beeswax Despite it's stone-like appearance, the sculpture weighs about 25 lbs. and hangs flush to the wall with a French cleat 48 x 45 x 9 inches Signed verso In "Hope You Don't See Me," the Japanese-American sculptor Dai Ban commandeers light and shadow, broadening the visual influence of the form beyond the bounds of its physical manifestation. To create his sculptures, Ban carves high-density polyurethane board with an X-Acto knife, condensing his improvised introspection into line and shape. He modulates the color and texture of these unadorned forms with beeswax, pigment and Venetian plaster until the composition “crystallizes.” At last, a title emerges, providing a point of entry that is at once poetic and succinct. Of his work, Dai Ban said: "The form comes first. I avoid intentional thoughts. What happens then seems to emerge from some deep subconscious reservoir: maybe from childhood, maybe from an unconscious feeling in the moment, maybe from something beyond this lifetime. I just let it come out until the form feels right. There is a sense of freedom from conscious deliberation. Then I engage in the conversations with my form and finish it without decorating but try to keep it pared down to what is essential. With hundreds of iterations of the same movements, the same strokes, I apply plaster compound to each surface until I find the right colors, the right shades, the right textures until everything is settled into place." Artist Statement: In my work now, the form comes first. I avoid intentional thoughts. What happens then seems to emerge from some deep subconscious reservoir: maybe from childhood, maybe from an unconscious feeling in the moment, maybe from something beyond this lifetime. I just let it come out until the form feels right. There is a sense of freedom from conscious deliberation. Then I engage in the conversations with my form and finish it without decorating but try to keep it pared down to what is essential. With hundreds of iterations of the same movements, the same strokes, I apply plaster compound to each surface until I find the right colors, the right shades, the right textures until everything is settled into place.
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