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If we look at the park landscape in fragments, we separate the objects, the grass, the birds, the pond, the dragonfly; if we look at the whole view, we get the beauty of the interacting parts; if we look under a microscope, we dissect the parts into more parts; if we stand in the environment looking out and watching inwardly, we, the observer now fit into the totality of the setting. The setting extends outward from the park, enveloping the continent, the earth and moves away further still into outer space. It consists of ever smaller components down to particles, quarks and fields. Energy and matter are related; space-time bends with gravitational forces; all constituents are bound up together in an endless flurry of organized chaos.

The negative space in the sculpture is a direct counterpart to the material form. The negative space is not less or more important than the material form. They co-exist as body and shadow, light and dark, spring and fall. The engagement of the form and the formless is a truly united one, bound together by the laws of existence, and we, the observer play just as important a role in this engagement, giving light to the piece and its surroundings by the fire of attention.
If we look at the park landscape in fragments, we separate the objects, the grass, the birds, the pond, the dragonfly; if we look at the whole view, we get the beauty of the interacting parts; if we look under a microscope, we dissect the parts into more parts; if we stand in the environment looking out and watching inwardly, we, the observer now fit into the totality of the setting. The setting extends outward from the park, enveloping the continent, the earth and moves away further still into outer space. It consists of ever smaller components down to particles, quarks and fields. Energy and matter are related; space-time bends with gravitational forces; all constituents are bound up together in an endless flurry of organized chaos.

The negative space in the sculpture is a direct counterpart to the material form. The negative space is not less or more important than the material form. They co-exist as body and shadow, light and dark, spring and fall. The engagement of the form and the formless is a truly united one, bound together by the laws of existence, and we, the observer play just as important a role in this engagement, giving light to the piece and its surroundings by the fire of attention.
If we look at the park landscape in fragments, we separate the objects, the grass, the birds, the pond, the dragonfly; if we look at the whole view, we get the beauty of the interacting parts; if we look under a microscope, we dissect the parts into more parts; if we stand in the environment looking out and watching inwardly, we, the observer now fit into the totality of the setting. The setting extends outward from the park, enveloping the continent, the earth and moves away further still into outer space. It consists of ever smaller components down to particles, quarks and fields. Energy and matter are related; space-time bends with gravitational forces; all constituents are bound up together in an endless flurry of organized chaos.

The negative space in the sculpture is a direct counterpart to the material form. The negative space is not less or more important than the material form. They co-exist as body and shadow, light and dark, spring and fall. The engagement of the form and the formless is a truly united one, bound together by the laws of existence, and we, the observer play just as important a role in this engagement, giving light to the piece and its surroundings by the fire of attention.
220 Views
9

VIEW IN MY ROOM

Abstract Wood Sculpture - Form and Formless No. 6 - 2018 - Western Red Cedar - Modern, Contemporary, Natural, Freestanding, Grain Pattern Sculpture

Mike Sasaki

Canada

Sculpture, Wood on Wood

Size: 4 W x 4.3 H x 3.5 D in

Ships in a Box

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SOLD
Originally listed for $415
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220 Views
9

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About The Artwork

If we look at the park landscape in fragments, we separate the objects, the grass, the birds, the pond, the dragonfly; if we look at the whole view, we get the beauty of the interacting parts; if we look under a microscope, we dissect the parts into more parts; if we stand in the environment looking out and watching inwardly, we, the observer now fit into the totality of the setting. The setting extends outward from the park, enveloping the continent, the earth and moves away further still into outer space. It consists of ever smaller components down to particles, quarks and fields. Energy and matter are related; space-time bends with gravitational forces; all constituents are bound up together in an endless flurry of organized chaos. The negative space in the sculpture is a direct counterpart to the material form. The negative space is not less or more important than the material form. They co-exist as body and shadow, light and dark, spring and fall. The engagement of the form and the formless is a truly united one, bound together by the laws of existence, and we, the observer play just as important a role in this engagement, giving light to the piece and its surroundings by the fire of attention.

Details & Dimensions

Sculpture:Wood on Wood

Original:One-of-a-kind Artwork

Size:4 W x 4.3 H x 3.5 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Mike Sasaki was born in Toronto, Canada. He graduated from the Bachelor of Design Honours program at York University / Sheridan College in 2005. He lived in Tokyo, Japan for 5 years where he was immersed in traditional and modern Japanese culture. The martial arts philosophies have played an important role in his artistic development. In his search for a hands on approach he has found sculpting in wood a wonderful solution. He is currently living in Metro Vancouver and focusing on the metamorphic line of abstract wood forms.

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