March catalogue: World Art Society

M aRCH issue

WHO We aRe

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Cover image: detail of an artwork by Wycliffe Stutchbury Presented by Rasti Fine Art on p. 50

amal lin

Amal Lin (b. 1992) is a Taiwanese artist currently based in Canada. Her work is heavily influenced by traditional Persian miniatures. Her devotion to this style flourished during her studies at the University of Jordan as well as receiving her MA of Traditional Arts at the Prince’s Foundation School of Traditional Arts in London. This can be seen within her vast collection, consisting of landscapes, architecture, flora, and fauna, all of which follow the traditional methodology in impressive detail. The smaller sizes of these works do not inhibit the viewer from immersing themselves in her imagery. In fact, Lin’s impressive artistic abilities dominate each of her compositions, creating endless details from small floral elements to subtly painted stars that allow the eye to endlessly search. The classical framework of her artwork is brought into a contemporary light as the work is influenced by the artist’s own journey of recovering from a severe eating disorder. For Amal Lin, the practice and creative process of her work is equally as important as the final image she creates. From producing her own mineral pigments, crafting the composition, and adding in details, it becomes a meditative, immersive process. Much like the therapeutic effects of her art making, the viewer finds a similar catharsis as they delve deeper into her vivid, exploratory imagery.

“Awakening” is a dynamic diptyque with an aesthetic framework akin to traditional Persian miniatures. Like her other two works, “Awakening” expresses the artist's mental and physical process of recovery, while simultaneously exploring her inner reality. The works have similar landscapes in their composition with a mirror-like symmetry to emphasize their relationship to one another. The two birds in each image face each other when the paintings are placed together, as though acknowledging one another’s presence. Like her collective works, Amal Lin demonstrates her excellent attention to detail within the blue borders of each work. The flora and fauna in each image extend beyond their borders, creating a surreal landscape. These intentional elements reflect the artist’s importance of the painting practice itself. Her process of creating her own mineral pigments, to the intricate painterly details across both works showcase the meditative process of creating her artwork, and similarly allows the viewer to be immersed in her world.

awakening

2021

Natural pigment and gold leaf on hand dyed paper, framed separately 48 cm x 35 cm each

SOLD

Price on request

aRtWORk pResented by:

H. Edward Gallery

T.: +1 (646) 753-2819

E.: hedwardgallery@gmail.com

W.: www.hedwardgallery.com

donald brun

swissair to india

1958

Linen backed poster

63,5 cm x 101,6 cm

Price on request

Provenance:

Private collection, New York

aRtWORk pResented by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

W.: www.kapoorgalleries.com

kazuo yagi (1918-1979)

Kazuo Yagi was born in Kyoto as the son of ceramic artist Isso Yagi (1894-1973). He studied sculpture at Kyoto City University of Arts and then ceramics at Shokosho Tojiki Shikenjo (Ceramic Institution of the Ministry of Commerce and Industry). From 1937 Yagi joined Nihon Tocho kyokai (Japan Ceramic Sculpture Association) and started exhibiting work at exhibitions including the Nitten (The Japan Fine Art Exhibition). In 1948 along with two other like-minded potters Osamu Suzuki (1926-2001) and Hikaru Yamada (19232001), he founded the influential avant-garde ceramic group, Sōdeisha (Crawling through Mud Association), a name which refers to a Chinese term meaning 'glazing flaw'. In 1973 he was awarded the Golden Prize of Japan Ceramic Society.

Yagi is one of the pioneers of new ceramic movements, being one of the first to incorporate inspiration from Western art into practical Japanese vessels. From the mid-1950s his ceramic work became less practical and more

sculptural and was referred to as Objet-yaki (Ceramic Art Object), this new concept was starkly different from traditional Japanese ceramic vessels. A perfect example being, Zamuza-shi no sanpo (Mr Samsa’s Walk), a cylindrical work with the mouth closed and added tubular decorations, first exhibited in 1954 and now in private collection is regarded as a pivotal work in the history of Japanese ceramics. Although he brought new perspective to the ceramic world, he continued to honour the tradition of Japanese ceramics, making tea ceremony ware along with more avant-garde object works. With or without utility, Yagi’s work shows the artist’s creativity backed by his wit and humour.

a flattened circular ceramic vessel with a slit in the centre, decorated with a yellowish glaze sealed Yagi on the base

Japan

20th century, circa 1964

32 cm (h) x 10 cm (w) x 9 cm (D)

Tomobako (original wood box): inscribed Kiyu hana-tsubo (flower vase in yellow glaze), signed Yagi

Kazuo and sealed Kazuo

Price: 8.000 euros

aRtWORk pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

*An almost identical example (1964) by the artist was exhibited at Yagi Kazuo: A Retrospective (a touring exhibition in Japan from 28 September 2004 – 11 December 2005, The National Museum of Modern Art, Kyoto, etc.) and published in its catalogue (p.85, no.63).

Selected exhibitions:

1950 Japon: Céramique Contemporaine, Musée Cernuschi, Paris, November 1950 – February 1951

1951 Contemporary Japanese Ceramics, Museo Internazionale delle Ceramiche, Faenza

1954 Genbi-ten (Modern art exhibition), Kyoto City Museum

1959 2nd International Ceramics Exhibition, Ostend, Belgium (winning a grand prize)

1959 Gendai Nihon no Togei (Contemporary Japanese Ceramic Art), National Museum of Modern Art, Tokyo

1961 Kyoto-Paris Kokan Togei, Kyoto Municipal Museum of Art, Musée national de céramique Sèvres, Sèvres, France

1962 3rd International Ceramics Exhibition, Prague, Czechoslovakia (winning a grand prize)

1963 Survey of Contemporary Japan Ceramics, National Museum of Modern Art, Kyoto

1964 Gendai Nihon no Togei (Contemporary Japanese Ceramic Art), The National Museum of Modern Art, Kyoto

1965 New Japanese Painting and Sculpture, San Francisco Museum of Modern Art, USA

1966 1st Japan Art Festival, New York, Chicago, Pittsburgh and San Francisco, USA

1968 The New Generation of Contemporary Ceramics, National Museums of Modern Art, Tokyo and Kyoto

1970 Contemporary Ceramics: Europe and Japan, National Museum of Modern Art, Tokyo and Kyoto

1971 Contemporary Ceramics: the U.S., Canada, Mexico and Japan, National Museums of Modern Art, Kyoto and Tokyo

1976 Japanese Ceramic Masterpieces, Rostock and Dresden, Germany

1977 Japanese Contemporary Masterpieces, National Museum of Modern Art, Tokyo

Celebrating Thirty Years of Sodeisha Exhibition, Kyoto Municipal Museum of Art, Kyoto

1993-94 Modern Japanese Ceramics in American Collections, Japan Society, New York;

New Orleans Museum of Art, New Orleans; Honolulu Academy of Art, Honolulu

2003 Isamu Noguchi and Modern Japanese Ceramics: A Close Embrace of the Earth, Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C.; Japan Society, New York; National Japanese American Museum, Los Angeles

2005-07 Contemporary Clay: Japanese Ceramics for the New Century, Museum of Fine Arts, Boston; Japan Society, New York

2008 Modern Ceramic Art from an International Perspective, Aichi Prefectural Ceramic Museum

2014-16 Into the Fold: Contemporary Japanese Ceramics from Horvitz Collection, Samuel P. Harn Museum of Art, University of Florida, Gainesville

2015 Ancient to Modern – Japanese Contemporary Ceramics and their Sources, San Antonio Museum of Art, Texas

Unfolding Worlds: Japanese Screens and Contemporary Ceramics from the Gitter Yelen Collection, Houston Museum of Fine Arts, Houston

Works by the artist can be found in the collections of many museums including: Victoria and Albert Museum, London; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Freer Sackler, Washington; San Francisco Museum of Modern Art; Minneapolis Institute of Arts; Museo Internazionale delle Ceramiche, Faenza, Italy; The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; National Museum of Art, Osaka; Suntory Museum of Art, Tokyo; Hyogo Prefectural Museum of Art; Hiroshima Prefectural Art Museum; Niigata Prefectural Museum of Modern Art; Kyoto Municipal Museum of Art; Aichi Prefectural Ceramic Museum; Mie Prefectural Art Museum; Museum of Modern Art, Wakayama; Museum of Modern Ceramic Art, Gifu."

key sato (1906-1978)

Born in Oita Prefecture Japan, Key Sato (Kei Sato) was a student of Tetsunosuke Yamashita (1887-1969) before moving to Tokyo in 1925 to study Western-style painting at the Kawabata Art School and then at the Tokyo School of Fine Arts.

He began as a figurative painter and his talent was recognised at an early stage with his work being shown at national exhibitions such as the Teiten (The Imperial Fine Art Exhibitions) from 1929 while he was still studying. Interested in the new art movements of the West and in particular the paintings of Paul Cézanne (18391906) and his contemporaries, Sato moved to Paris in 1930.

During his time there, he exhibited at Salon d'Automne in 1931 and 1932. He also continued to send his work to the Teiten exhibitions from 1931 until 1934, winning the Tokusen (speciality prize) in 1932. He was acquainted with and inspired by various artists such as Henri Matisse (1869-1954), Pablo Picasso (1881-1973) and Léonard Tsuguharu Foujita (1886-1968) through his artistic activities in Paris before returning to Japan in 1934.

With increasing governmental interference in establishments such as the Teiten where Sato

had exhibited for several years, the artists’ freedom was becoming compromised and so in 1935 he and several other like-minded artists founded the Dainibukai (The Second Art Circle), a foundation set up in opposition to the Teiten, without the controlling influence of the government. At the first Dainibukai exhibition of the same year, he was awarded the Bunkasho (Cultural speciality prize) and was nominated as a new member.

In an effort to free themselves from the influence of the authorities and to create an environment where artists could work with true freedom of expression, Sato and some other young artists such as Genichiro Inokuma (1902-1992) and Kazu

Wakita (1908-2005) founded a new art society known as Shinseisakuhakyokai (New Creation Association, later Shinseisakukyokai) in 1936. Sato continued to present his works at their exhibitions throughout his career. He worked as an official war artist during the Second World War and went on to extend his artistic activities, exhibiting at Bijutsudantairengoten (Union of Art Associations Exhibition) from 1948 to 1951, Shusakubijutsuten (Best Art Exhibition) in 1951, 1952 and 1955, as well as at the Carnegie International, Pittsburgh, in 1952.

untitled

Signed and dated Key Sato. 66. to lower left

1966

Oil on canvas mounted on board 16,8 cm (h) x 20,7 cm (w)

Price: 8.500 euros

aRtWORk pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

In 1952, Sato returned to Paris and settled there. This is when he began to experiment with lyrical abstraction, suggestive of telluric, geology or fossils and he began to incorporate various natural materials such as rocks, stones and driftwood into his work, applying layer after layer to express his unique universe.

While having numerous solo shows, he also exhibited at The Salon de Mai (1956, 1957), the 30th Venice Biennale (1960), the Japan International Art Exhibitions (Tokyo Biennale, 1952, 1961, 1963, 1965, 1967), the 1st Japan Art Festival (1966) and at the New Japanese Painting and Sculpture exhibition at the Museum of Modern Art, New York (1966-67).

In 1976, he was awarded the Order of the Sacred Treasure, Gold Rays with Neck Ribbon, a Japanese order established in 1888 by the Emperor Meiji and awarded for distinguished achievements.

Selected solo exhibitions:

1934 Sanmaido Gallery, Tokyo

1954 Galerie Mirador, Paris

1954 Tokyo Gallery, Tokyo

1956 Tokyo Gallery, Tokyo

1959 Galerie Jacques Massol, Paris

1960 Galerie Jacques Massol, Paris

1961 Galerie Jacques Massol, Paris

1964 Hamilton Galleries, London

1965 World House Gallery, New York

1968 Galerie Cavalero, Cannes

1970 Galerie Jacques Massol, Paris

1972 Galerie Cavalero, Cannes

1973 Galerie Jacques Massol, Paris

1974 Centro d'arte Settimiano, Rome

1976 Galerie Jacques Massol, Paris (retrospective)

1979 Galerie Jacques Massol, Paris

1979 Galerie Yoshii, Tokyo

1979 Oita Prefectural Art Hall, Oita

Works by the artist can be found in the collections of various museums including: Musée National d'Art Moderne, Paris; The National Museum of Modern Art, Tokyo; Oita Prefectural Art Museum; Oita Art Museum; Nerima Art Museum, Tokyo; The Museum of Modern Art, Kamakura & Hiyama; The Museum of Contemporary Art, Karuizawa, Nagano; Atheneum Art Collection, Helsinki; Musée Communal, Verviers, Belgium; Tate Gallery, London; Musée d'Arts de Nantes; Musée d'Art Moderne de la Ville de Paris; Musée d'Art moderne et contemporain, Strasbourg.

kokuta suda (1906-1990)

a textile hanging scroll with calligraphy “Tenchi Konton (Celestial Chaos)”

Signed and dated: Koku 1971. 2

Sealed: Kokuta

Ink on textile

Scroll: 120 cm x 92 cm

Calligraphy: 63 cm x 76 cm

Price: 22.000 euros

Provenance:

Private collection, Osaka

Publication:

Kokuta Suda ed., My Mandala: the World of Suda Kokuta (Kyoto, 1984) no.137"

aRtWORk pResented by:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Like so many artists Kokuta Suda was passionate about art from a very early age. His dream of becoming an artist was not shared by his father who did not support Suda’s choice of career. Academically he was one of the most gifted students at school. However, during his teen years Suda suffered some serious issues with his kidneys, which forced him to take a leave from school and to move to Karuizawa, a well-known treatment resort for its clean mountain air. He suffered in a critical condition for three years, which gradually led him lose his enthusiasm for anything but painting. The beauty of nature in Karuizawa, in particular the view of Mt. Asama, convinced him to become an artist and this passion gave him a strong will to survive. He finally overcame the disease, however this life-threatening experience haunted him for the rest of his life, leaving Suda physically weak and insecure.

Determined to become an artist, he tried to enter the prestigious Tokyo School of Fine Arts (Tokyo Bijutsu Gakko) albeit without success. He failed four times in a row. This setback, however, could be seen as a positive outcome as he could now work freely without the dogma of the establishment. According to Kotaro Nagahara (1864-1930), a professor of Tokyo School of Fine Arts at that time, Suda’s individualistic and eccentric drawing style was the main reason for the rejection. Despite knowing it could be a disadvantage for the entry exams, Suda was determined to stick to his own style and refused to follow any orthodox values. Acknowledging his talent, Nagahara suggested that Suda should move to America where his work would be better appreciated and the artist would be able to paint more freely than in Japan.

Despite Nagahara’s advice Suda stayed in Japan and developed his own career. In his latetwenties Suda was obsessed with pieces of meat as a subject matter, painting it again and again over several years in an attempt to capture the

essence of the flesh within his canvas. This odd choice of subject was not positively accepted by anyone except Manjiro Terauchi (18901964). This master of Western-style painting saw one of Suda’s paintings of meat in a local collective exhibition and was astonished by the intense power of the lines and texture. Terauchi encouraged this fledgling artist to vary his choice of subject matter. From this time, his works started to be exhibited at major group exhibitions annually, often receiving awards.

While Suda started to enjoy his own success, his close friend and colleague Sadakatsu Nagafuchi was rejected for an exhibition. This rejection led Nagafuchi to commit suicide and left Suda with a great sense of guilt as he felt it was partly his fault due to his success in contrast to his friend. This tragedy was a great shock, taking Suda close to a nervous breakdown. In search of salvation and in a desperate mental state, he visited the Zen Buddhist temple Heirin-ji where he met the chief abbot Soetsu Mineo (1860-1954). After this initial meeting, he visited the temple regularly. Talking to Mineo and observing the monks’ rigorous practices, he eventually discovered peace of mind in Zen Buddhism. He was 29 years old and his mind began to open. Despite his traumatic experiences his encounter with Zen Buddhism allowed him to evolve and go to the next stage as a person and also as an artist.

One year later at the age of 30 his work was accepted for the 1936 Bunten (later Nitten) Exhibition, the most highly regarded exhibition in Japan for the first time. Winning prizes at national exhibitions in the following years, he started to have a small following of collectors and also gained a patron who offered him a stipend. As Suda was not interested in selling his works or any commercial aspect, this basic support gave him freedom and allowed him to focus on developing his own style without concerns for

finance or trends within the market. To seek out what he believed to be real art and get closer to his artistic goal, he struggled daily to impart his soul directly on to the canvas, with the hope of deeply touching or even enlightening the viewer.

In December 1941 Japan entered World War II. Since having met Mineo at the Heirin-ji temple, Suda learnt about the historic temples in Nara and Kyoto. Facing the possible evanescence of the world surrounding him, his urge to see the ancient Buddhist images held in these old capitals became stronger and finally he moved to the Kansai region. Upon his arrival in Nara, Suda was captivated by the historically significant temples such as Todai-ji and Shinyakushi-ji and started to diligently paint the Buddhist sculptures kept there.

He was befriended by Ryusho Fukuoka the chief priest of Shinyakushi-ji temple and was allowed to stay at one of the priests’ living quarters at the temple for two years, and following this he was given the use of a mud-walled warehouse in Kannon-in temple provided for him by Kaiun Kamitsukasa (1906-1975), a priest who later became the 206th chief abbot of Todai-ji temple. Using these free spaces in the temples as his studio and accommodation, he spent his days painting Buddhist artefacts. He was deeply attracted by the power of these sculptures, and tried to express their timeless vitality through his work. Despite the shortage of painting materials during the war, Suda kept painting even using Japanese paper and ink from temples, originally intended for sutras when needed.

The war finally ended and the cultural circle Tempyo no kai was formed by Kamitsukasa. Believing that art and cultural activities were significant for a devastated post-war Japan, Suda took part and met many artists, photographers and novelists who gathered at Kannon-in which served as a cultural salon. As well as being inspired by

these encounters, Suda also familiarised himself with Japanese traditional culture including Noh theatre and the tea ceremony, becoming more and more insightful.

Unfortunately, it was around this time that his sponsor died leaving Suda without an income. Fortunately for him he was invited to become a part-time teacher at an elementary school which would provide him with enough money to live as an independent artist. He was amazed by the freedom of expression and creativity of the children. Their works were much more powerful than that of adults and despite their rough lines the children’s drawings were very appealing. When he was teaching older students, he urged them to develop their own style, to be unique and different from the others, insisting on the importance of individuality. Throughout his life, he highly appreciated the powerful quality in primitive works and recognised similarities between Jomon pottery from 14,500 B.C and the lines drawn by children.

He joined other artists in discussion groups in an effort to expand his horizons and in 1949, during an art circle talk, Saburo Hasegawa (1906-1957), one of the pioneers of Japanese abstract painting, suggested that Suda should study the teachings of the monk Dogen (12001253), author of Shobogenzo, the essence of enlightenment, literally translated as Treasury of the True Dharma Eye. Apparently, he found it to be the most difficult philosophical text he had ever read. Fascinated by it and desperate to fully understand the ideas of the legendary priest he read this collection of essays repeatedly and intensely, which allowed him to look deeper into himself and to have a better understanding of the abstract qualities of Zen. A quality which he then tried to impart into his own work which now shifted from representational to abstract, inspiring him to express his inner thoughts into a

concrete form. He was excited by this new way of expression. Suda studied the Shobogenzo for the rest of his life and found it to be a constant source of theoretical support for his abstract paintings which he began to work on in 1949.

In 1950, Suda wrote his first essay on art which focused on calligraphy. This was published in Shonobi (Beauty of Calligraphy) sharing some important ideas with its main contributor Shiryu Morita (1912-1998), an avant-garde calligrapher and close friend of Franz Kline. By writing down his ideas, Suda steadily established his theory of abstract art. He thought that lines were a kind of global language and they were effectively a self-portrait of the calligraphers themselves. Suda paid special attention to lines from the beginning – some of his figurative paintings have a sculptural quality to them due to the presence of strong lines. As such it was natural for him to be intrigued by calligraphy as an art form.

In 1955, he was invited by his friend and fellow artist Jiro Yoshihara (1905-1972) to join the new avant-garde group Gutai but he declined, preferring to stay independent in his creative process. His status as an artist in Japan rose and he was invited to show his work at overseas exhibitions. He represented Japan at the 4th Sao Paulo Biennale in 1957, followed by the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, then in the 1961 Carnegie International Exhibition, Pittsburg USA, and then on to West Germany.

Suda continued in this vain until 1971 when he was asked to illustrate a new series of travel essays entitled Kaido o yuku (Going along the Road), written by the acclaimed author Ryotaro Shiba (1923-1996). Having focused on an abstract style for over 20 years yet never afraid to try something new, Suda returned to figurative representation but this time a trace of abstraction remained on his

canvas and he enjoyed to mix both styles finding that abstract and representational paintings were not something contradictory and could in fact happily coexist. The collaboration between Suda and Shiba was a powerful one – the series with its brilliant text describing life in Japan during the Showa Period accompanied by the inspiring illustrations was a huge success and formed the beginning of a twenty year long relationship where the pair travelled extensively, first across Japan and then on to Korea, China, Mongolia and Europe. In total Suda produced 897 illustrations for the series, bringing him national recognition and fame.

By this time he had improved his knowledge and technique of calligraphy and began using a thick young bamboo brush to express philosophical words with dynamic lines full of vitality. His obsession for the quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avant-garde calligrapher Yuichi Inoue (1916-1985) likened Suda to the old masters Hakuin (1685-1768) and Tessai (18361924), both renowned as calligraphers as well as painters.

Throughout his life, he continued to pursue his own art with his pure and passionate character. When staying at the temples in Nara, the priest Kamitsukasa affectionately called Suda ""Zenzai Doji"" meaning ‘child seeker of truth’ in the Kegon sect of Buddhism and also ""Kyojin Kokuta"" which literally means ‘Madman Kokuta’. There are several episodes that would explain such character traits. When the new building material asphalt was introduced to Japan in his midtwenties, the artist was instantly fascinated by this new road surface and even tried to steal some so that he might experience its qualities for himself. This led to his arrest and several hours at the local police station. The thick sticky texture

inspired him and similar qualities can often be seen in his work. Whilst living in Kannon-in temple in the mid-1940s, there was a heavy rain which continued for more than a week. Frustrated at not being able to go out and paint under natural light, he broke the mud-wall of his accommodation and painted under the light from the holes. Shiba, who knew Suda’s later life very well, often commented on Suda’s youthful appearance and pure childlike qualities – at this time Suda was in his 80’s.

At the same time, he had almost a priest-like spirit. Suda regarded his studio as a dojo, a hall where Zen Buddhists practice immersive meditation or a training hall for martial arts considered to be a sacred space of ritual importance. Indeed, the studio was his spiritual battle field – he needed intense concentration to transfer his deep philosophy onto the canvas and to achieve breakthroughs in his creations. His painting process was intensely demanding both mentally and physically as he always pushed himself to the limit, trying to reveal his inner world and embody spiritual freedom in his work. He also continued to use the painful times of his youth as a powerful tool. His friend and fellow artist Kenkichi Sugimoto (1905-2004) once compared Suda to a live volcano which may be gentle in appearance but contains hot magma inside, a substance which holds an exceptional level of vitality and could fearlessly destruct any fixed value.

In the last years of his life, he said that he finally felt he had mastered his chosen mediums of oil painting as well as ink. He spent his last days drawing from his hospital bed, putting all his final energy into this oeuvre. He died on the 14th July 1990 at the age of 84, after a life of single-minded dedication to the practice of art and the spiritual qualities within it. His work has an enduring, magnetic power and the embodiment of his philosophy still enlightens us today.

N.b The scroll has recently been remounted and is now slightly larger. Therefore, the tomobako has been modified to accommodate the extra width.

david klein

Fly tWa india

Circa 1960

Linen backed poster

63,5 cm x 102,24 cm

Price on request

Provenance:

Private collection, New York

aRtWORk pResented by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

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lui shou-kwan (1919-1975)

Lui Shou-kwan was one of the most significant artists in Hong Kong during the second half of the 20th century, prominent and recognized for his uniquely experimental approach to ink painting. Lui was largely credited with expanding the tradition of ink painting from within to incorporate bold, gestural and abstract markmaking, connecting traditional practice with a more international, contemporary aesthetic.

Lui Shou-kwan inherited his father’s interest in painting, studying works of past masters such as Bada Shanren (1626-1705, Ming Dynasty), Shitao (1642-1707, Qing Dynasty) and Huang Binhong (1865-1955), who he studied under for a short period.

After moving to Hong Kong in 1948 and working for the Yaumatei Ferry Company, Lui took great inspiration from the surrounding landscape of mountains and sea views – often brought together in combination with his more internal, abstract gestural works. It was through this development of artistic language that he arrived at his most notable and unique form of Zen painting – an amalgamation of allegory and abstracted imagery. The resulting works traverse a fine line between representation and bold, pure mark-making.

dwelling

Inscription: 居乙巳深秋呂壽琨, With an inscription by The Master of the Water, Pine and Stone Retreat: “Lui Shou Kwan ‘Dwelling’ 1965” and one collector’s seal (The Water, Pine and Stone Retreat) 1965

Ink and water colours on paper with one seal of the artist (壽琨)

Hanging Scroll

45,3 cm x 45,5 cm

Price on request

Provenance:

The Artist

The artist’s brother

By descent in the family

The Water, Pine and Stone Retreat

aRtWORk pResented by:

Pavilion, London

T.: +44 (0) 7523 018239

E.: info@paviliongallery.com

W.: www.paviliongallery.com

Lui Shou-kwan was one of the most significant artists in Hong Kong during the second half of the 20th century, prominent and recognized for his uniquely experimental approach to ink painting. Lui was largely credited with expanding the tradition of ink painting from within to incorporate bold, gestural and abstract mark-making, connecting traditional practice with a more international, contemporary aesthetic.

Lui Shou-kwan inherited his father’s interest in painting, studying works of past masters such as Bada Shanren (1626-1705, Ming Dynasty), Shitao (1642-1707, Qing Dynasty) and Huang Binhong (1865-1955), who he studied under for a short period.

After moving to Hong Kong in 1948 and working for the Yaumatei Ferry Company, Lui took great inspiration from the surrounding landscape of mountains and sea views – often brought together in combination with his more internal, abstract gestural works. It was through this development of artistic language that he arrived at his most notable and unique form of Zen painting – an amalgamation of allegory and abstracted imagery. The resulting works traverse a fine line between representation and bold, pure mark-making.

dwelling

Inscription: 甲辰夏至壽琨 by The Master of the Water, Pine and Stone Retreat: “Lui Shou Kwan ‘Dwelling’”. With one collector seal (Water, Pine and Stone Retreat) 1964

Ink and water colours on paper

Hanging Scroll

45 cm x 45 cm

Price on request

Provenance:

The Artist’s studio, 1975

The Artist’s brother

By descent in the family.

The Water, Pine and Stone Retreat

aRtWORk pResented by:

Pavilion, London

T.: +44 (0) 7523 018239

E.: info@paviliongallery.com

W.: www.paviliongallery.com

sibusiso ngwazi

sounds of the waves ii

2023

Mixed media on canvas 204 cm x 144 cm

Price on request

aRtWORk pResented by:

Duende Art Projects

T.:+32 485 98 20 36

E.: bruno@duendeartprojects.com

W.: www.duendeartprojects.com

One of South-Africa’s foremost emerging artists, Sibusiso Ngwazi has already gained strong recognition for his talent, showcasing his work in galleries and exhibitions across South Africa. After moving to Cape Town in 2013, he has participated in several group exhibitions. In 2017, Ngwazi held his first solo exhibition which was well-received by both critics and art enthusiasts. In early 2021, Sibu started hosting open studio exhibitions at his home in Little Mowbray. His work has caught the attention of key figures in the South African art world, such as the art critic Ashraf Jamal, who writes about him in his book ‘Abstraction and Figure’. Ngwazi has attended several art residencies: in late 2021 at South-Africa’s Nirox Foundation, in 2022 at Joseph Awuah-Darko’s Noldor Residency in Accra, Ghana, and at the Asisebenze residency in Johannesburg. In March 2023, Duende Art Projects organized the artist’s first solo show in Europe, “The Blind Side”. The gallery exhibited the artist’s work for the first time in The Netherlands in November during the PAN art fair and continues to promote his work devotedly.

Selected Solo Exhibitions

2023 Turbine Art Fair, Johannesburg

2023 “The Blind Side”, Duende Art Projects, Antwerp, Belgium

2022 ‘Revelations’ Youngblood Africa gallery, Cape Town

2022 “Metamorphosis”, Chilli Art Projects, London

2021 “I trust my stroke”, Nirox Foundation, Krugersdorp

2017 “Nostalgias” (curated by Mongezi Msomi), At The Palms

Selected Group Exhibitions

2024 “A Very Loop Street Summer II”, Ebony/ Curated, Cape Town

2023 “PAN”, Duende Art Projects, Amsterdam

2023 “Transient Beings”, Duende Art Projects, Antwerp

2023 “Atmosphere”, Daor Contemporary, Cape Town

2023 “Sunny Side Up”, Graham Contemporary, Johannesburg

2022 “Modernity & Its Offspring”, Asisebenze Art Atelier, Johannesburg

2022 “Asisebenze Group Show”, Asisebenze Art Atelier, Johannesburg

2022 “Autumn 2022”, DAOR Contemporary, Cape Town

a thought of no return

2023

Mixed media on canvas 240 cm x 162 cm

Price on request

aRtWORk pResented by:

Duende Art Projects

T.:+32 485 98 20 36

E.: bruno@duendeartprojects.com

W.: www.duendeartprojects.com

profuse

2023

Mixed media on canvas

127 cm x 90 cm

Price on request

aRtWORk pResented by:

Duende Art Projects

T.:+32 485 98 20 36

E.: bruno@duendeartprojects.com

W.: www.duendeartprojects.com

Wang Chi-Chien (C.C. Wang 1907-2003)

C.C. Wang was a Chinese born, New York based calligrapher, painter and collector whose career traversed more than five decades. During this he produced what are now considered to be the last examples of literati painting executed overseas as part of the Chinese diaspora. His collection of ink paintings is consistently listed as one of the most important, and extensive, in the world. His own works represent the journey of artist whose style was impacted by his 1949 migration to America and his exposure to increasingly global art movements and of modernity itself.

Wang passed away on July 3rd 2003 in New York city and, as the last diasporic artist practicing the literati style and the absence of a subsequent generations as a form traditional lineage, the style has largely ceased with his passing. However, he continues to provide inspiration to successive artists experimenting with, landscape, calligraphy and the language of Chinese ink painting.

Mountain snow

April 1986

Ink and white pigment on xuan paper

61 cm x 37,5 cm

Price on request

Provenance:

The Artist Umbrella, Hong Kong (1995)

Peter Overstall

aRtWORk pResented by:

Pavilion, London

T.: +44 (0) 7523 018239

E.: info@paviliongallery.com

W.: www.paviliongallery.com

Wycliffe stutchbury

Formerly a furniture maker, Wycliffe Stutchbury communicates the expressive beauty of timber, its narrative qualities, and its fragile yet robust character. Wood can absorb its environment, to record the elements and events, but also to show beauty in decay. These works exhibit the struggle between an impulse to impose form on nature and nature’s unwillingness to conform. The artist presses his desires on the material with the help of highly engineered tools but is then countered by the forces of nature. The physical world corrupts, erupts, cracks, distorts, and discolours human efforts to suppress, edit or frame.

During the creative process, human error is meditative. The artist says, ‘Although I strive to self-consciously apply my structure to my work through concentration and technical skill, I fail. I make mistakes, my concentration wanders, I change my mind, and I can’t maintain a straight line or a perfect sphere. I find I am being pulled toward an intuitive way of working, rather like how one might approach stacking firewood.’

Whether it be the semi-petrified timbers of a 5000-year-old oak or the ivory of fallen holly, he instinctively assembles and creates delicate patchworks of texture, colour and pattern.

A deep love for the landscape underlies everything the artist makes. He was brought up on the South Downs near Beachy Head and spent his summers on the beaches of Suffolk, so the colours and folds of the land are always foremost in his mind. A recipient of several awards including from the Crafts Council UK and the Worshipful Company of Furniture Makers UK, the artist was also shortlisted for the prestigious Loewe Craft Prize in 2018.

Model For a screen

Methwold, East Anglia 2023

Hand-sawn excavated bog oak tiles on birch ply

46 cm x 43 cm x 1,5 cm

Price on request

aRtWORk pResented by:

Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

ethelburga tower 1

2023

London SW11

Hand-sawn tiles cut from discarded planting trough on birch ply

33 cm x 33 cm x 1,5 cm

Price on request

aRtWORk pResented by:

Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

poster

Visit india, sanchi

Circa 1950

Linen backed poster

101,6 cm x 63,5 cm

Price on request

aRtWORk pResented by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

W.: www.kapoorgalleries.com

poster

banaras, see india

1954

100,33 cm x 62,23 cm

Price on request

Publication:

Issued by the Tourist Traffic Branch, Ministry of Transport and Published by the Advertising Branch, Ministry of I. & B.

aRtWORk pResented by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

W.: www.kapoorgalleries.com