Vth catalogue: World Art Society

SePTeMBeR 2022 iSSue

WHO We aRe

The World Art Society features four online catalogues every year listing quality artworks of Non-Western art that have been thoroughly selected by our select members, who are the in-house experts.

By bringing together a group of trusted dealers, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee.

Cover image: Sleeping beauty by Lucille Soussan Presented by Anthony J.P. Meyer on p. 44

eXHiBiTiOnS

agenDa

Galerie Hioco is happy to announce a special exhibition dedicated to contemporary Japanese ceramics.

Objects of refinement and decoration, Japanese ceramics experienced a new boom in the 1920s, when Soetsu Yanagi, a Japanese thinker and collector theorized the mingei, thus giving a new impulse to crafts and so-called popular arts. In 1936, he opened a Museum of Folk Art, where ceramics were widely represented. This re-evaluation of the place of ceramics is successful: the works of the artists presented in Curves and Surfaces now find their place in the most important museum collections.

Curves & Surfaces

20-25 September 2022 78, rue de Turenne, 75003, Paris

The gallery will also show, for the first time, works by Wu Lan-Chiann. Born and raised in Taiwan, Wu has exhibited her art, and lectured on the subject of Chinese ink painting in Asia, North America, and the UK and she is a grant recipient of the Durfee Foundation, the Hakka Foundation, and the Taiwanese American Art Council.

Wu’s paintings are rooted in tradition, but blend Western and Asian modes of representation into a distinctly authentic style. Thus her works bridge cultures, time and space. She held a solo exhibition, ‘ReflectionsContemporary Ink Paintings by Wu Lan-Chiann', at The Museum of East Asian Art in Bath, UK from November 2015 to May 2016, and her painting, ‘Perseverance’, is currently on view at The Royal Ontario Museum, Toronto until the end of the year..

Fine art asia

4th-8th October 2022 the Hong Kong Convention Centre

Located in the heart of Paris, the Montméat Maurel gallery offers ancient and contemporary ink paintings as well as ceramics. The works we offer are mainly from Asian cultures or inspired by Far Eastern traditions. For the coning exhibition the gallery will feature workks of the following artists: Emmanuel Alexia, Cyriaque Ambroise, Alberto Guzmàn, Caroline Jamous, Ryuichiro Kawase, Raphaël Meyer, Laetitia Pineda, Serge Saunière, A-Sun Wu, Ye Xing Qian, Zhou Gang.

exhibition/ Contemporary Ceramics, ink Pain tings, lacquers and wood Sculptures

19th- 23rd October 2022 5, rue Médicis 75006 Paris

SePTeMBeR aRTWORKS

The artworks are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress. In order to guarantee the quality of artworks available in the catalogues, pieces are validated by all our select mebers, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence.

Feel free to ask the price if the artwork is listed with a price on request and request high resolution images.

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a-Sun Wu (b. 1942)

A-Sun Wu is a Taiwanese artist who has been living between Paris and Taipei since the early 1990s. He is a rare artist who was educated as a classical painter at the Taipei School of Fine Arts. He then came to study in Europe, then stayed in the United States to take the pulse of Western contemporary art. But his curiosity did not stop there.

The many trips to Africa, South America and the Pacific Islands allowed him to rediscover the tropical forests of his youth and to meet people close to nature and living outside of modernity. From them, he also drew an aesthetic vocabulary that was familiar to him, close to that of the Austronesians in Taiwan.

His expressionist sensibility is often inspired by the power and vigour of the tribal arts of the regions he has travelled through.

A-Sun Wu experiments with various techniques, painting with acrylic on canvas and wood, and with ink on paper. He also sculpts on wood.

Selected exhibitions:

• 2022 Heat: South Island, Yinggo Spot Craft Gallery, Taiwan

• 2018 Transgression of wild ink, Exhibition of Contemporary Painting, Indian ink by A-Sun Wu.

National Gallery of Sun Yat-sen Memorial Hall Taipei, Taiwan.

• 2018 A-Sun WU Retrospective Exhibition: iiiInstinct‧Memory‧.primitive energy, National Museum of Fine Arts Museum, Taichung, Taiwan

• 2018 Primitive Modern Integral, Return of the Nomad To Fashion: presentation of designer products - Yilan Museum, Yilan,Taiwan

• 2017 An Uninhibited Gaze, Ceramics Exhibition by Pablo Picasso, Hans Hartung, Manfred Borsi, A-Sun Wu and Paloma Chang, National Taiwan Research and Development Center, Taipei, Taiwan

Works in public collections:

• United Nations, New York, USA

• Pu-Ten Museum, Okinawa, Japan

• Ikeda, Museum of 20th Century Art-Ito, Japan

• Utsucushi Gahara-Nagoya Museum, Japan

• Paul Valéry Museum, Sète, France

• Taipei Municipal Museum, Taiwan

• Kaoshiung Municipal Museum, Taiwan

• Museum of Modern Art, San Paulo, Brazil

• National Gallery of the Principality of Andorra, Principality of Andorra

alberto guzmàn

Untitled

Acrylic relief on cardboard Signed and stamped 1996

1,40 cm x 1 m

Price: 15.000 euros Publication: "Alberto Guzman. JeanClarence Lambert. Pierre Restany", Paris. 2007, p308

aRTWORK PReSenTeD By:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com w.: www.meyeroceanic.art

Born in 1927 in Talara, Peru and died on November 2, 2017 in Nogent sur Marne. The Parisian sculptor of Peruvian origin, Alberto Guzmán, studied at the National School of Fine Arts in Lima, where in 1953 he exhibited his first abstract sculpture in welded iron. He then organized his first solo exhibition at the Instituto de Arte Contemporaneo in Lima in 1959, when he obtained, through a competition, a scholarship offered by French government to study in Paris. Two years later, he presented his sculptures in welded wire at the Musée d’art modern de la Ville de Paris as part of the exhibition "Latin American Art in Paris", then at the “Salon de la Jeune Sculpture”. Guzmán implements a universal language in which two half-spheres are held apart at a distance by metallic wires in tension which translate the impossibility for the human being to achieve essential unity. Guzmán also exhibited in Caracas and Valencia in 1965 and participated in the Venice Biennale the

following year. From the 1970s, the artist sought to transpose his creations into marble and began to work in chiaroscuro by making drawings on paper or cardboard in which he then made perforations and cutouts. Guzmán received the Bourdelle Prize in 1971 and organized the following year at the Musée Bourdelle a personal exhibition of his sculptures and drawings from 1959 to 1972. In 1973, he took part in the exhibition "Sculptures en Montagnes" on the Plateau d 'Assy in the French Alpes and then subsequently presented his work at the European Sculpture Triennial at the Grand Palais (1982) and at the Havana Biennale (1986). Along with his career as a sculptor, Guzmán produced jewelry, furniture and theater sets. In 2012, the Musée des Beaux-Arts in Pau organized a retrospective exhibition of his pictorial and sculptural work which highlighted half a century of artistic reflection.

almighty god (Kwame akoto)

Kwame AKOTO aka ALMIGHTY GOD was born in 1950 in Kumasi, Ghana. He has been drawing since childhood and created his first sign painting studio in 1972. He paints from photographs Christian themes, portraits of celebrities, tributes to his country Ghana, visions of demons and the hell, as well as a large number of self-portraits. His work was spotted in Europe in 1980 as one of the most important on the continent. In 1991, ALMIGHTY GOD was one of the artists exhibited by Susan VOGEL in the exhibition Africa Explores: 20th Century African Art, at the Center of African Art in New York. His works can also be found in the collections of the Musée du Quai BranlyJacques Chirac.

An Ashanti Woman

Kumasi, Ghana Circa: 1990

Painting on panel Height: 130 cm

Provenance: Private collection, France Reginald Groux, Paris Price on request

aRTWORK PReSenTeD By: Olivier Larroque

T.: +33 (0)6 80 08 00 93

E.: o.larroque1@gmail.com

W.: www.olivierlarroque.com

Daniel eskenazi

Raised in a family that has been collecting and dealing in Asian art since the 1920s, Daniel Eskenazi has a strong interest in both ancient and contemporary Chinese art, from which he draws his inspiration. Exposed to the best artistic and intellectual achievements of Asia from a young age, it is through this mix of cultural, religious, and philosophical influences that his sensibilities have been formed. A sophisticated self-taught photographer, Eskenazi has been creating photographic works since the early 1990s. Eskenazi’s most recent photography work is based on the philosophical process that leads one’s self to be intimately connected with the spirit of nature; in Chinese we call this li, the inner law or spirit of things, or as the German poet Schiller put it: ‘It’s the spirit which builds for itself a body.’ Side by side, his photographic images bring together natural forms as a means to trigger both man’s elemental reactions to imagery, as well as raise questions of the metaphysical.

Meteorite I 2014

Archival inkjet print on photo rag 82 cm x 61 cm (Edition of 6 + 2AP), 110 cm x 82 cm (Edition of 3 + 2AP) Price on request

aRTWORK PReSenTeD By:

Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

elena Cecchinato

Elena Cecchinato is a multidisciplinary artist who works in different mediums, primarily drawing, but also painting, ceramics, automatic writing, print, installation, video and live art. Her work explores the cross narratives existing in the construction of identity, culture, belonging and ‘otherness’, the private and the political, the here and the elsewhere by creating a sort of zero degree transition area where individuality and community coincide. As a multividual and cross-cultural negotiator of meaning, she exposes the intersectionality of the plurilogics of humanity. For Cecchinato art is a way to explore and expose the contradictions and similarities within different cultural practices, a way to find unity in the fragmentation of life. Recently her focus has been on the themes of invisibility, transformation and abstractions.

Cecchinato was born in Venice, Italy. She learned Korean and Chinese painting at Korea University in Seoul before obtaining an MA in the History of Art of Africa and Asia from SOAS, University of London. Her work has been shown internationally, as well as in London at the Westbourne Studios, Area 10Ps, and The Rug Factory. The Museum of Everything has also featured Elena’s works, as part of its exhibition#2 at Tate Modern. She has shown Transpadovano at Palazzo Moroni, Padova, in Italy; Turf at Cutlog NY, USA; and has collaborated with the Roundabout.Lx Collective and the River of Thoughts Residency hosted by Olho du Boi, both in Lisbon, Portugal. Most recently she has shown her sound painting at ‘Art in the Age of Now’ an historical show in the derelict Fulham Town Hall and ‘Art Save the Queen’ @Oxo both curated by Art Below

The two plates are part of a collection of 16 unique pieces of plates and various vessels

The Ceramic pieces are part of the “Museum Spirituality’ Collection, an on-going series of unique in-glazed fine bone china plates and vessels. Serving plates and vessels are used as passage and conduits between the outer world and our inside. They are a place of exchange. In this case the exchange is between different cultures and faiths on common human occurrences. These plates and vessels are a sort of zero degree transition area where the participants are called to experience, read and interpret the gaps in space and time which characterise the negotiation of cultural values and histories.

They are made up of museum pieces from all over the world arranged as trans-personal, archetypal images in a fluid conversation with one another. A series of texts as words, and drawings have been super-imposed onto these plates, asserting an altered space and reality. They make it possible for us not to feel subdued by the world around us, allowing us instead, to interact with it, constructing new narratives. They seek to fuse sensorial experiences with world art, history and culture.

’Sense Flow / Make/ Things Whole’ and ‘Essence as Fifth Dimension of Existence / Solid’

2020 (Plate VIII) and 2012 (Plate VI) China

Hand Decorated Inglazed Bone China and Hand Decorated Inglazed Porcelain Diameter: 36 cm and 24 cm Provenance:

Part of Museum Spirituality collection I Price for the set: 6.000 GBP

aRTWORK PReSenTeD By: Adam Prout

T.: + 44 7725 689 801

E.: adam@adamprout.com

W.: www.adamprout.com

‘Switch Supposing’ and ‘Transpadovano’ are both writings and drawings at the same time. They are part of Cecchinato’s research on the relationship that exists between the verbal and the visual. We can read images and paint visions with words, yet writing and drawing are fundamentally not the same- that would be pure duplication- so how do they differ? What are they not? And where does their ‘Otherness’ intersect?

Cecchinato explains: “Words and images, with their signs and meanings, are equally necessary to space and charge reality. They are both vehicles and mediums to unite and conceive reality, working between the ‘I’ and the world, the interior and the exterior, the knowing and the doing. They allow an opportunity for us not to be subdued by the world, but to rather interact with it, thereby ever transforming it into new narratives.”

Switch Supposing 2022

Screen Print, 24K Gold leaf on artist paper 100 cm x 72 cm Edition 8/12 Price: 800 GBP Transpadovano 2019

China Ink on Fabriano paper 100 cm x 80 cm Price on request

aRTWORK PReSenTeD By: Adam Prout T.: + 44 7725 689 801 E.: adam@adamprout.com W.: www.adamprout.com

Queen of Angels is a drawing and inlaid collage of the internal lining of envelopes. It is part of a series of modern-day Mothers of God. Originally shown at ‘Own Cult -Icons from Wonderland’ at Catlog New York curated by Mebrak Tareke, It explores the role of icons and cult figures in creating a new visual language on human identity. The digital age, its endless flow of information, makes it difficult for us to peel fact from fiction and the past from the future. However, it does nurture our ability to tap into the subconscious, where a plethora of nonlinear narratives exist. This has the potential to shape how we experience the world. Ultimately, this show reiterates what artist Elena Cecchinato calls ‘Own Cult’. It eschews distinction, time and place, illustrating instead, how our lives are hybridized and governed by us. Our existence is constantly fraught with collision, chaos and change. Therein lies the beauty of culture and its place in society today: its cults and icons are an embodiment of the agile human spirit. Those tell their own heroic fairy tales of hope amidst adversities.

Queen of Angels 2014

Mixed media on artist paper

160 cm x 120 cm

Price: 12.000 GBP

aRTWORK PReSenTeD By: Adam Prout

T.: + 44 7725 689 801

E.: adam@adamprout.com

W.: www.adamprout.com

emmanuel alexia (b. 1960)

Emmanuel Alexia set up his workshop and kilns in the south of France several decades ago. Living in harmony with nature, he collects his own earth, sifts it, mixes it and grinds his rocks. He fires his pieces in wood kilns that he builds himself.

Inspired by the tradition of Japanese potters, his work is dedicated to making the utensils necessary for the tea ceremony. His work is appreciated in Japan by amateurs and is regularly exhibited in galleries, temples and museums.

Selected exhibitions:

• Galerie Montméat Maurel 2021

• Cha-no-yu: A Ceramic Sacred Space, Cavin-Morris Gallery, New-York. 2021

• Kanreki Chawans, gallery Le sentiment des choses, Paris. 2020

• A Sculptural Universe, Philadelphia. 2020

• Exhibition “Au cœur de la forêt”, Nomura Art Museum, Kyoto, Japan. 2019

• Hōō Kaikan, Tamba-Sasayama. 2019

• Temple Shörei-in, Enkakuji, Kamakura, Japan. 2017

• Dojima Gallery Osaka, Japan. 2009

Chawan

2019-2022

Oyster-glazed stoneware H: 9 cm, D: 11.1 cm

This Chawan was first shaped and fired in 2019, in spring 2022, the artist, covered it with an oyster shell glaze and gave it a second firing.

Price on request

aRTWORK PReSenTeD

By: Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com W.: www.montmeat-asianart.com

george nuku

George Nuku was born in 1964 and raised in Heretaunga Hawkes Bayhas. He is a mix of Germany, Scottish, and Maori origins. As a child, he was influenced by his mother’s Maori culture, he then entered Massey University, studying arts, geography, and sociology. He is one of New Zealands North Island Aotearoa leading contemporary Māori artist of all time. He works with visual creativity, performing arts, painting and carving with mix media such as stone, bone, wood, shell, polystyrene, plexiglass and recycled plastic. He covers it with Maori symbols representing wonders of the sea, and profoundly inspires viewers to ponder upon the environmental issues the world is now facing. Nuku's work ranges from delicate jade and pearlshell amulets, life size stone and plexiglass sculptures, through to two story high Polynesian demigods and Māori cultural heroes. He carries the tradition of his people handed down for one thousand years in an artform that promises to expand life and enhance survival.

Nuku has gone on to an impressive career in the arts that has seen him exhibit extensively internationally, in over 50 major projects in museums, art institutions and on marae (tribal meeting grounds), including a major commission for the New Zealand pavilion at the 2009 Venice Biennale. He is currently based in Rouen, France.

'Rei Niho' Pendant

2015 Carved from Niho ParaoaSperm Whale ivory. Brown Waxed Acrylic cord 22 cm x 13 cm Photo - Reinhart Cosaert @ The_Image_Paradox Price: 3.250 euros

Current exhibition: "George Nuku: Oceans. collections. Reflections", 23/06/2022 - 31/01/2023, Vienna aRTWORK PReSenTeD By: Anthony J.P. Meyer T.: +33 (0) 6 80 10 80 22 E.: ajpmeyer@gmail.com

www.meyeroceanic.art

Hashimoto Tomonari

Tomonari Hashimoto was selected as one of the youngest finalists at the ‘LOEWE Craft Prize 2019’ exhibited at the Sogetsu Kaikan in Tokyo. And early in 2020, his work is joining the permanent Collection of the Victoria & Albert Museum in London. Another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

Untitled 2020

Stoneware, saturated glaze, oxide metal multi fired.

67 cm (w) x 48 cm (h)

Price: 16.000 euros

aRTWORK PReSenTeD By: Christophe Hioco

T: +33 (0) 1 53 30 09 65

E: info@galeriehioco.com

W: www.galeriehioco.com

A perspective on the Japanese Concept of 'Ma' The form is simple with a grey, a light blue, and a rust red waving across the surface like clouds. Tomonari does not title any of his work, preferring to leave interpretation up to the viewer. After hand forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. Many of his works are monumental.

Inoue Yūichi (1916-1985)

Inoue Yūichi was one of the leading and founding members of the avant-garde calligraphy group Bokujinkai (‘People of the Ink’) founded in 1952. Experimenting with various innovative techniques and expressions, Bokujinkai members transformed the art of calligraphy, the East Asian spiritual and aesthetic heritage, into the contemporary and international visual mode. They actively connected with other Japanese and international artists, such as the Gutai and the European COBRA painters, and their powerful characters inspired the schools of Abstract Expressionism and Art Informel amongst others. Although their methods were totally innovative, the group pursued a rigorous re-evaluation of the fundamentals of ancient calligraphy from a contemporary, universal point of view.

In order to liberate the art of calligraphy from orthodox conventions, to present it within a global perspective and to establish it as a contemporary artistic medium, Inoue along with the rest of the Bokujinkai calligraphers were not overly concerned that their renderings of kanji characters were legible or whether they had used a character at all. However, after discarding the meaning and forms of kanji, Inoue finally came to understand how marvellous they really were. From around 1957, free from the tradition of

sho, he devoted himself to action painting while adhering to the original characters. Inoue came to terms with the beauty in the form of the kanji, admitting worshiping the fatal nobleness of the Chinese characters.

For more about the artist visit our website http:// japanesescreens.com

Shoku (Belonging)

Sealed Yūichi

Ink on paper

Dated 76.1.31

119,7 cm (h) x 219,7 cm (w)

Price on request

Publication:

Masaomi Unagami ed., YUICHI, Catalogue Raisonné of the works 1949-1985, Vol. 2 1970-1976, UNAC Tokyo, (Tokyo, 1998), no.76015

aRTWORK PReSenTeD

Gregg Baker Asian Art

T.: +32 468 00 56 85

By:

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Khin Zaw latt

Khin Zaw Latt (1980) is one of Myanmar’s most talented and successful contemporary artist.

Khin Zaw Latt was born in Myanmar in 1980 in the delta village Laputta. He is the youngest of 6 children and comes from an artistic family; his mother was a dancer, his father was a musician. His older brother by 15 years, Soe Soe Laputta, is also an estab[1]lished artist in Yangon. After he graduated from the National University of Art and Culture in Yangon in 1998, he supported himself by teaching art to children, what he is still doing today. KZL started looking at wooden stamps, and decided to experiment with stamping as the basis for what became the first paintings in his Buddha series. He won the Myanmar Contemporary Art Award in 2008, and in 2011 he won the first Myanmar National Portrait Award with a painting of his daughter. The second painting in the 2011 National Portrait competition was a portrait of Aung San Suu Kyi.

Artists in Myanmar are beginning to express not only the beauty but the complexities of life, much as they do in New York, Berlin, Paris or Tokyo. It is in this climate that Khin Zaw Latt is painting his new series, “Street people”. All is not tranquil or harmonious, but the unflinching nature of these paintings gives them a beauty of their own. The “Street People” series is an objective but emotional view of these children’s experiences.

He participated at solo and group shows locally and oversea. He has extensive exposure abroad with exhibitions in Hong Kong, Shanghai, Thailand, Singapore, the US, Canada, France and Belgium.

Innocent

Signed by the artist

Myanmar Acrylic on canvas 61 cm x 61 cm

Price: 3.100 euros

aRTWORK PReSenTeD By:

Konishi Toko ii (Mitsue) (1927-2018)

Konishi Toko II (Mitsue, 1927-2018), the second daughter of Konishi Toko I (1899-1954) learned pottery from her father. She became a successful female potter in a very male-centric Bizen ware pottery tradition.

Lotus and Crab design flower vessel

Signed & sealed by Toko Japan Circa 1970-2000 Bizen ware (Okayama Pref.), tomobako 23 cm (w) x 22,2 cm (h)

Price: 7.600 euros

aRTWORK PReSenTeD By: Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

lucile Soussan

Born in 1990, the French multidisciplinary visual artist Lucile Soussan extends her field of action from traditional craftsmanship to contemporary art and specializes in color design for the luxury and cosmetics industry. Winner of the 3under30 prize promoted by the Galerie Daniel Blau and former student of the National School of Fine Arts in Paris at Eric Poitevin's studio. Her work is rooted in ancestral cultures. In her eyes, there is a strong kinship in the unique bond of these peoples with nature and she recognizes herself in this sacred approach to life. Photography remains for her a nomadic art to discover shoots in nature like a hunter-gatherer of images. From these collections made during long hikes, she keeps memories associated with their digital files. The challenge is to restore materiality and make this memory exist. She is imbued with images by Georges Shiras and texts by Jean-Christophe Bailly, the animal constitutes “an Other” whose discretion fascinates her. Soussan is particularly strongly influenced by contemporary Japanese photographers, Takashi Homma and Naoki Ishikawa. The raw vivacity of their images moves her, and this is perhaps one

of the reasons that motivated her to combine photography and engraving. Photoengraving allows, by means of a complex experimental technical process, to engrave a copper plate which will become what she calls "a mold of an image". This adventure allows her to reactivate the memory of sparks from a distant nature.

Group exhibition catalogue: https://issuu. com/ajpmeyer/docs/contemporain_x_ancien_ catalogue "I wanted to realize a work at the crossroads of the marvelous and the primitive at the same time purified and carnal. The anteater, by the mischievousness of its form, invites a detour. It is only after having finished this sculpture that I detected its origin in a Japanese scroll painted by Hokusai. More than the nature of the animal itself or its luminous environment, it is the artist's tone between humor, poetry and animism in which I recognized myself."

Lucile Soussan

Marie Diane

A Parisian at heart, Marie Diane expresses herself through her multiple creative facets. Endowed with a refined gesture and eye, this self-taught artist practices drawing and painting. For nearly 20 years, she has been experimenting with very different styles, letting her imagination and talent run wild as she creates. In 2014, Marie Diane exhibited for the first time in a London gallery the GX Gallery where her works met with great success. She paints, enhances, details sculptures. After several years in England, Marie Diane decided to settle in Paris. In 2020, curious to broaden her creative palette, Marie Diane creates small test drawings in Indian ink. She visits Parisian fairs, gets inspired and imagines new forms. Little by little, the artist sketches masks and tribal statues, the best way according to Marie Diane to learn and enter this subject which fascinates her., A real bulimic artist, Marie Diane satisfies her thirst for elsewhere by reproducing all the objects she discovers in the books in her library. Her gaze is fed by masks and statues, ancestral customs and primordial rituals. She also listens to African music, watches documentaries and reads a lot in order to immerse herself in this

captivating universe. Determined to see beyond the simple aesthetics of these pieces, she wishes to recontextualize them, understand their stories before transcribing them on paper. Very quickly, Marie Diane moves on to large formats. In June 2021, gallery owner Eric Hertault invites her to exhibit in his gallery during Paris Tribal Fair. This unprecedented dialogue between both arts was a real success. With their disturbing realism, Marie Diane's paintings quickly find their audience. The artist extendsher exhibition there during the Parcours des Mondes in September and at Galerie Mingei, both located in the heart of Paris in the VIth district. The artist also signs the invitation card for the highly anticipated Toshimasa Kikuchi exhibition at the Musée Guimet (2021).

Marie Diane sees, in ink, a way to go further in creation. She spends many hours on each drawing, from nine to fifteen hours for a large format. The application of Indian ink, a complex play of light and transparency, requires several stages of drying, for a better restitution of depths and volumes, leading the artist to work on several drawings at the same time. Working with

Indian ink undeniably offers a new dimension to drawing. Marie Diane likes to challenge herself on different textures. Wood, blade, basketry, leather, the artist always makes sure that the work keeps its relief, its depth, its authenticity. Meticulous, she observes and analyzes each detail in order to reproduce the essence of each sculpture as accurately as possible. She works from contrasted pictures which help her to "enter the light and take possession of the object. Marie Diane's drawings offer a new look at extra-Western creation. Her works are a kind of "zoom", an invitation to admire the incredible play of light and matter of those pieces. From Africa to Asia, Marie Diane ’s graphic lines seem to have no limits.

As for painting, her other refuge, there is no doubt that we are no longer talking about precision. It is a complete letting go; a timeless and personal interpretation of space. Highlighting direction with colors is her only finality. The eye is quick to detect the permanent research, to put clarity on this agitated painting which is nevertheless dominated by very structured organizations.

Marie Diane daringly seeks to master and burst color through various superimpositions with a painter's knife.

Songye

Print

Air-India/ New York, 1967 S. N. Surti

Price on request

aRTWORK PReSenTeD By:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

Roger Boulay

Roger Boulay was born in 1943 in the Sarthe region of France. He defended his doctorate in ethnology in 1986, but it was in 1979 that the decisive meeting with Jean-Marie Tjibaou took place, which anchored him in an exclusive passion: Oceania. Since then, he has developed a policy of intense collaboration with Kanak cultural institutions which led him to be entrusted with the museographic program of the Tjibaou Cultural Center (Nouméa) along with Emmanuel Kasarhérou. As a well known curator of numerous exhibitions, he was commissioned in 2011 by the government of New Caledonia to produce, again with Emmanuel Kasarhérou, the inventory of all Kanak objects kept in French and European museums (IPKD).

Some exhibitions:

For the Quai Branly Museum - Jacques Chirac:

• The aristocrat and his cannibals, 2008

• Tarzan, or Rousseau among the Wasiri, 2009

• Kanak, art is a word (with Emmanuel Kasarhérou), 2013

• Kanak notebooks, travel in inventory, 2020-2021

For the National Museum of Arts of Africa and Oceania:

• Of jade and mother-of-pearl, 1991

• Arts of Vanuatu, 1996

• Kannibals and Vahines, 2001

For the Museum of New Caledonia, Nouméa:

• Of jade and mother-of-pearl, 1990

For the Hèbre museum, Rochefort:

• Kanak notebooks, inventory trip, 2022

Announcing forthcoming exhibition "Carnets Kanak - Voyage en inventaire de Roger Boulay" 04/10/2022 - 12/03/2023 - Musée du Quai Branly - Jacques Chirac, Paris. #Carnetskanaks

2 drawings

Signed by R Boulay 2013

Black stone, watercolor and pencil on paper 18 cm x 27,2 cm

Price: 1.900 euros

aRTWORK PReSenTeD By:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22 E.: ajpmeyer@gmail.com w.: www.meyeroceanic.art

Ryuichiro Kawase

Ryuichiro Kawase is a Japanese ceramist who lives near Nagasaki on the southern island of Kyushu in Japan. He mainly makes stoneware pieces used for the tea ceremony.

Chawan 2022

Stoneware, black lacquer. H: 9.8 cm. L: 11,3 cm Price on request

aRTWORK PReSenTeD

By: Renaud Montméat T.:+33 6 17 61 21 60 E.: montmeatartdasie@gmail.com W.: www.montmeat-asianart.com

Serge Dubuc

Born in Paris in 1962, Serge Dubuc very early on showed a taste for drawing and far-away cultu res. This is sharpened by the neighborhood of the family home, facing the house of Th odore Brauner, Victor's brother, and his family. After studying architecture (a referee error according to his own words), he turned to scenography and decorative painting, before becoming a sculp ture restorer in 1999 following a crual and life changing experience in Tahiti.

Apart from a few exhibitions in the context of workshops open in Paris, drawing remains for him above all a private, but constant affair. His taste for the letter, the word, associated with a very organized conception of the space of the sheet of paper, leads him to create original ca lligrams where the absurd is combined with hu mor and Dadaist accents. Beside that, portraits of characters from his personal pantheon con firm this attraction for the purity of the drawn line. Two stays in New Guinea in 2008 and 2011 are for him the opportunity to bring back dozens of drawings of scenes of daily life, portraits and gestures of which he says "something will have to be done one day" ... Serge lives and works be tween Touraine and Paris.

Solo show catalogue: https://issuu.com/ajpme yer/docs/catalogue_6_me_tagraphies

Untitled drawing 2022

Ink on Tongan tapa 56 cm x 43 cm

Price: 800 euros

aRTWORK PReSenTeD By: Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22 E.: ajpmeyer@gmail.com w.: www.meyeroceanic.art

Suda Kokuta (1906-1990)

Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. He is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushiji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

In 1949, he met Hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with Hasegawa, Suda realised the essence of Zen is abstract and shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

In 1955, Suda was invited by Yoshihara Jiro (1905-1972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from

the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA.

In the 1970s, Suda returned to figurative representation but this time a trace of abstraction remained on his canvas. He enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory. By this time, he was also practicing calligraphy and expressed philosophical words in ink 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 Inoue Yuichi (19161985) likened Suda to the old masters Hakuin

(1685-1768) and Tessai (1836-1924), both renowned as calligraphers as well as painters. Throughout his life, he pursued his own art, continuously achieving breakthroughs in his creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http:// japanesescreens.com

Untitled

Signed Suda Kokuta

Dated 1959.10.8 on the reverse

Mixed media on burlap

91 cm (h) x 73 cm (w)

Price: 48.000 euros

Provenance:

Private collection, Osaka

aRTWORK PReSenTeD By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Suzuki Osamu (1926 - 2001)

Suzuki Osamu was born in Kyoto and studied pottery with his father, Suzuki Ugenji, a master potter of the renowned Eiraku studio.

In 1948 along with other like-minded potters including Yagi Kazuo (1918-1979) and Yamada Hikaru (1923-2001), he co-founded the influential avant-garde ceramic group, Sōdeisha (Crawling through Mud Association), a name which refers to a Chinese term meaning 'glazing flaw'.

The aim of this group of potters was to install a more artistic and expressive dimension in pottery, relieving the final object of its utilitarian purpose and giving new form and meaning to the discipline. Therefore, their creations could not be categorised as mere ceramics and they were often referred to as Objet-yaki (Ceramic Art Object). Suzuki took to creating organic and formalistic ceramics often entitling his works deizō (earthen figure) or deishō (clay image). Inspired by nature his sculptural works borrowed the forms of animals and natural phenomena.

A square pottery flower vessel in an Irabo glaze

Impressed seal mark: Su, signed and sealed Osamu Japan

20th century

Showa sanju-nen dai saku (made between Showa 30’s, i.e. 195564)

Accompanied by a Tomobako (original box): Titled Irabo no hanaire (flower vase in Irabo glaze)

37,5 cm (h) x 18,5 cm (w) x 20,5 cm (D.)

Price: 18.000 euros

aRTWORK PReSenTeD By:

Gregg Baker Asian Art

In 1960 Suzuki won a prize at the Japan Ceramic Society, Tokyo and in 1961 the Golden prize at the International Pottery Exhibition, Prague. Having achieved international success Suzuki became associate professor of ceramics at the Osaka University of Arts in 1968 and in 1970 won the Golden prize at La Biennale Internationale de Céramique Contemporaine, Vallauris, France before receiving the Minister for Trade prize at the International Pottery Exhibition, Faenza the year after.

Following the premature death of Yagi Kazuo in 1979 he took over teaching ceramics at Kyoto City University of Arts and continued to do so until his retirement in 1999. That same year he held an exhibition at the National Museum of Modern Art, Tokyo and in 2013 twelve years after his death, the National Museum of Modern Art, Kyoto held a retrospective entitled Suzuki Osamu: Image in Clay, portraying Suzuki's evolution and philosophy: from 'Pottery for Use' into 'Pottery for Viewing' and eventually into 'Poetry Ceramics'.

Tanoue Shinya

Kara-Shell Vessel

Circa 2021

Ceramic

62 cm x 32 cm x 41 cm

Price: 10.000 euros

aRTWORK PReSenTeD By:

Christophe Hioco

T: +33 (0) 1 53 30 09 65

E: info@galeriehioco.com

W: www.galeriehioco.com

Born in 1976 and raised in Kyoto, Tanoue Shin ya is marked by the Sodeisha aesthetic. This group, formed between 1948 and 1998, opposes the Mingei, the popular and dominant craft mo vement of the 20th century. This group intends to detach itself from all the traditional forms of ceramics, and also refuses to submit its produc tions to the system of the Salons, in order to ob tain a greater freedom of creation.

Tanoue Shinya works around the shape of the shell; "Kara" is a Japanese word that has a double meaning: it means a shell and also emptiness. The apparent simplicity of the sculpture contains depth and clarity. The shell becomes a container and frames the void. It is this subjective variation of emptiness that is called Ma in Japanese.

In terms of technique, the artist uses three types of clay and two pastes, which he fires twice. He meti culously draws tiny lines and a blue glaze and dar kens some parts of the slip. Tanoue Shinya's work is linear and simple, with great elegance.

Several examples can be found in the Kyoto Mu seum and the Hyogo Museum of Ceramic Art, as well as in American museums (Cincinnati, Phoe nix, Crocker) as part of the Horvitz Collection of contemporary Japanese ceramic art.

The Master of the Water, Pine and Stone Retreat (b. 1943)

Celebrated collector, dealer and author, The Master of the Water, Pine and Stone Retreat has, in recent years, discovered his own voice in Chinese ink painting. The discriminating and sophisticated eye he brings to collecting antiquities translates into a refined and scholarly ink aesthetic. Like the most renowned literati painters of China, his paintings of scholar’s objects and landscapes express an inner reality, rather than seeking to achieve formal likeness or bravado displays of craftsmanship. The artist has honed his perfections, ‘three perfections’ (poetry, calligraphy and painting), inking his observations about life and nature as inscriptions; the final effect is as much a homage to the traditional literati tradition, as it is to his own transcendental sensibilities.

Dividing the Indivisible 2019

Ink and watercolours on clouddragon paper 186 cm x 97 cm Price on request

aRTWORK PReSenTeD By: Rasti Fine Art Ltd.

2415 1888

gallery@rastifineart.com

www.rastifineart.com

Wang Mansheng

Following graduation in 1985 from the Chinese Department of Shanghai’s Fudan University, where he majored in classical literature, Wang Mansheng worked for over a decade as editor, director and producer at China Central Television, Beijing. Since his move to New York in 1996, he has devoted himself full-time to painting and calligraphy. The imaginary landscapes Wang creates using experimental techniques, tools and media in concert with traditional brushwork, are composed in dialogue with Chinese classical themes.

Wang’s works have been exhibited widely. This includes in China, the Beijing Art Museum, Today Art Museum, Xuhui Art Museum, and Shanxi Museum and in the USA, at Godwin-Ternbach Museum, Rockefeller Brothers Fund, China Institute in America, The Baltimore Museum of Art, and Princeton Art Museum. His paintings and calligraphy are held in important public and private collections.

Where Can the Dust Alight

paper

aRTWORK PReSenTeD By:

Wu lan-Chiann

Born and raised in Taiwan, Wu Lan-Chiann received her BFA, with highest honours, from the Chinese Culture University in Taipei and she also holds a MA from New York University’s Fine Art Department. Wu has exhibited her art and lectured on the subject of Chinese ink painting in Asia, the USA and UK. She is a grant recipient of the Durfee Foundation, the Hakka Foundation, and the Taiwanese American Art Council.

Wu Lan-Chiann’s works are held in many important private and public collections worldwide. In 2018, the Nelson Atkins Museum in Kansas City acquired Before the Storm (2015) and, in 2020, the Princeton University Art Museum added Old Street in Sanxia (1993) to their collection. Most recently, Snowflakes Quietly Descending (1999) entered the collection of the Royal Ontario Museum, Toronto.

yamaguchi Takeo (1902-1983)

Yamaguchi Takeo (1902-1983) was born in Seoul Korea. He moved to Tokyo in 1921 at the age of 19 and began studying painting under Okada Saburosuke (1869-1939). The following year he was accepted into the department of Western painting at the Tokyo Art Academy. After graduating in 1927, Yamaguchi moved to Paris and continued his studies of avant-garde European painting where he worked at the stu dio of the sculptor Ossip Zadkine (1890-1967).

In 1931 Yamaguchi returned to Tokyo by which time his painting had evolved and reached a cer tain degree of abstraction where his figures had dissolved into thick black lines and the lands cape backgrounds had morphed into coloured blocks.

During the years of the Second World War Yama guchi had been quietly and steadfastly creating severe non-figurative forms until his ascension to critical acclaim in 1954 when he was awar ded a prize at the Contemporary Japanese Art Exhibition, Tokyo. By the mid-1950’s Yamaguchi was seen as a pioneer of a revolutionary trend of Japanese abstraction. His works were exhibited in important international exhibitions including the inaugural exhibition of the Guggenheim, New York in 1959.

Yamaguchi strived to interact with the innermost framework and structure of a subject, merging figure and ground, seeking to awake in his forms the soul and depth of nature.

For more about the artist visit our website http:// japanesescreens.com

Gun (group)

Signed and seal by Yamaguchi

Takeo

15/9/1976 on the reverse

Ink on paper

71 cm (h) x 55 cm (w)

Price: 3.800 euros

aRTWORK PReSenTeD By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

ye Xingqian

Ye Xingqian (born 1963) in Leqing, Zhejiang, Chi na Ye Xingqian is a self-taught painter of Chine se origin who lives in Paris. He learned painting and sculpture with his older brother at a very early age. From the age of sixteen, he earned his living by making calligraphies for religious cere monies in temples. He exhibited his work for the first time in 1980 in his home town.

Ye arrived in France in 1983, where he disco vered contemporary Western painting and was particularly interested in abstraction.

The artist gradually integrated it into his art, initially adapting ink and paper to his new com positions.

Since the 2000s, Ye has been working with ink on paper and also with oil on canvas.

In 2019 a major touring exhibition in eight im portant Chinese museums was organized and a major solo exhibition is dedicated to him in 2020 at the prestigious Liu Haisu Museum in Shanghai.

Selected exhibitions:

• 1990 Shanghai Museum of Fine Arts

• 2013 Fuzhou City Cultural Centre, Fujian, China

• 2019 Tianjin Art Museum, China

• 2019 Fujian Museum, Fuzhou, China

• 2019 Guilin Arts Museum, Guangxi, China

• 2020 Liu Haisu Art Museum, Shanghai

• 2021 Orangerie du Sénat, Jardin du Luxembourg, Paris

Works in public collections:

• Musée National des arts asiatiques Guimet, Paris

• Liu Haisu Art Museum, Shanghai

• Musée des arts de l'Asie Cernuschi, Paris

• Guangzhou Museum, Guangzhou, China

YONEZAWA Jirō (b. 1956)

Jiro Yonezawa has been a bamboo basket maker and artist for over 35 years. He studied at the Beppu Vocational Arts Training Center in 1981 and spent a year as an apprentice to Masakazu Ono. He continued his training at the Oita Pre fectural Beppu Industrial Art Research Institute. He lived and worked in the United States from 1989 to 2007. While In the US, his work became bolder and larger and he started making sculp tural pieces influenced by American art. In 2008, he returned to Japan and built a new studio in Oita Prefecture.

He has had numerous solo exhibitions and has shown in group exhibitions internationally. His work is in many public and private collections such as the Microsoft Corporation in Seattle, the Mint Museum of Art in Charlotte, North Carolina, the Portland Art Museum in Oregon, the Natio nal Gallery of Victoria in Melbourne, Australia, le musée du quai Branly – Jacques Chirac and the National Museum of Asian Arts – Guimet, Paris.

Statement

“Bamboo when cut, grows back. This regenerative quality lured my imagination and drew me into becoming a maker of bamboo objects. The images, sounds, sensual and emotional experiences of daily life find their way through my hands to reside in woven sculptures and vessels. The process of preparing strips to weave and then weaving forms from those strips is inherently meditative. The cacophony of life dissipates; the sculpture emerges vigorous and vibrant. Form, contrast, balance and the interplay of space, color, and texture are the elements I consider. With each new series, I strive to be innovative and try to tease out another emotion from the woven bamboo shape.”

Akai Kiretsu (Red Fissure)

2022

Tomobako & otoshi. Bamboo madake, cane & urushi lacquer

Price on request

aRTWORK PReSenTeD By:

Galerie Mingei

T.:

E.:

W.:

Daruma

Cocoon

yui Tsujimura

Born in 1975, Yui Tsujimura is the son of master potter Shiro Tsujimura and older brother of Kai Tsujimura. Yui has undoubtedly been influenced by his family in terms of his artistic practice, vi sual language and overall approach to ceramic arts. Unlike his father and brother, Yui Tsujimu ra has developed his own visual style, focusing primarily on the use of a distinctive blue-green ashy glaze.

The simple shape and color of Tsujimura's stoneware vase is typical of the sobriety of Ja panese tea ceramics. The metal tube inside the jar is inspired by the bamboo vases used in tea gatherings, while the combination of green and mottled gray of the glaze is reminiscent of vege tal hues.

For this work, Tsujimura Yui used feldspar-rich clay from Shigaraki and Iga. The artist is ins pired by the techniques and aesthetics of the unglazed stoneware of early medieval Sue. One of his trademarks is the use of the natural ashy glaze. The green and blue streaks on this piece are horizontal because the vessel was fired on its side. Ashes were blown onto it to create an organic, almost abstract pattern.

Yui Tsujimura enjoys an excellent reputation in Japan, but also internationally: the artist is notably present in the permanent collection of the Metropolitan Museum of New York, and has been exhibited twice in the museum: "A Beautiful Country: Yamato-e in Japanese Art," in 2010 and "Contemporary Japanese Ceramics in Historical Context," in 2018.

Untitled 2022

Glazed stoneware

32 cm x 28 cm

Price: 7.200 euros

aRTWORK PReSenTeD By: Christophe Hioco

T: +33 (0) 1 53 30 09 65

E: info@galeriehioco.com

W: www.galeriehioco.com

Zaw Zaw Co

Zaw Zaw Co was born in Maubin in November 1984. He attended the State School of Fine Arts in Yangon from 2001 to 2004, and the National University of Art and Culture in Yangon from 2004 to 2008. He has participated in many shows in Yangon, and has also had work exhibited in Hong Kong, Western Europe and North America.

Beyond the Living series show trishaw riders carrying passengers, set against the backdrop of maps of different parts of Myanmar. He hopes to highlight the working class and their place in writing the history of this country. The trishaw is a common mode of transportation in Myanmar. Both the trishaw riders and passengers represent the working class struggling to earn a living. Connected by time and money, the riders and passengers embark on their journeys together, carrying feelings of sorrow, pleasure, and hope. Slowly but surely, they are moving forward in their lives.

Beyond the Living Signed by the artist Myanmar Acrylic on canvas 92 cm x 122 cm Price: 3.900 euros

aRTWORK PReSenTeD

By: Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W.: www.famarte.be

Zhou gang

Zhou Gang was born in Shanghai in 1958. He received a solid training in traditional painting at the Ecole Normale Supérieure, Shanghai in Fine Arts section. A two-year stay in Tokyo comple ted his training before coming to live in Paris in 1989. Zhou Gang achieves a beautiful synthesis between landscape painting and abstraction with ink painting.

Works in public collections:

• Shanghai Art Museum, China

• Liu Haisu Museum, Shanghai, China

• Musée des Arts Asiatiques de Paris, Cernuschi.

• Akita TV, Japan

• Sakikake Sinpo, Newspaper, Japan

Selected exhibitions:

• 2020, Galerie Hebert, Paris

• 2016 Retrospective in Long Museum, Shanghai

• 2009, Musée des Arts Asiatiques de Toulon. Solo exhibition

• 2006, Liu Haisu Museum, Shanghai. Solo exhibition

Untitled Ink on paper

31X 33 cm Price on request aRTWORK PReSenTeD By: Renaud Montméat

T.:+33 6 17 61 21 60

E.: montmeatartdasie@gmail.com W.: www.montmeat-asianart.com