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The colours of form, the silent rustling of the autumn leaves in the distant tree, the swiftness of a bird cutting through the cool, dense atmosphere—the lights, sounds, colours, movement and feelings are unending in their infinite yet concise play of motion and vibration. Here one is, standing amongst and entangled, interjoined with and inseparable from the vast wholeness of all existence. The distance across lands and oceans is not. The earth breathes and pulses with immense energy and exchange between its constituents. Our breath is not more or less than this operation of nature. The garlic, onions or coffee on our breath is but a crystalline droplet of oil rolling across a wave in the sea of potential—a seemingly separated detail outside the skin of the essence of totality. Yet it is related, as all details are, in our ever-dividing investigation into the make-up of material and energy. But here lies the great danger, the trust in our fragmented interpretations, our separative and comparitive mathematics, our limited reality—our filtered and partial perceptions. The twinkling star in the dark night sky oscillates in colour flashes visible to the eye—in time, the rainbow appears but the source is pure light, white in essence and penetrating in power. The reflection of the green pigment beaming from the dusted spruce needles in the dead of winter paint our experience as the watcher but the limit to how greatly we are penetrated by light, energy and relationship is artificial. The wood used in the sculpture is Port Orford Cedar which gives a lemon-spice scent. It is bare in its finish. The surfaces and curves are fluid in smoothness and purity. The form celebrates the colourful dance of limited perception contained within the boundless mystery of wholeness without location.
The colours of form, the silent rustling of the autumn leaves in the distant tree, the swiftness of a bird cutting through the cool, dense atmosphere—the lights, sounds, colours, movement and feelings are unending in their infinite yet concise play of motion and vibration. Here one is, standing amongst and entangled, interjoined with and inseparable from the vast wholeness of all existence. The distance across lands and oceans is not. The earth breathes and pulses with immense energy and exchange between its constituents. Our breath is not more or less than this operation of nature. The garlic, onions or coffee on our breath is but a crystalline droplet of oil rolling across a wave in the sea of potential—a seemingly separated detail outside the skin of the essence of totality. Yet it is related, as all details are, in our ever-dividing investigation into the make-up of material and energy. But here lies the great danger, the trust in our fragmented interpretations, our separative and comparitive mathematics, our limited reality—our filtered and partial perceptions. The twinkling star in the dark night sky oscillates in colour flashes visible to the eye—in time, the rainbow appears but the source is pure light, white in essence and penetrating in power. The reflection of the green pigment beaming from the dusted spruce needles in the dead of winter paint our experience as the watcher but the limit to how greatly we are penetrated by light, energy and relationship is artificial. The wood used in the sculpture is Port Orford Cedar which gives a lemon-spice scent. It is bare in its finish. The surfaces and curves are fluid in smoothness and purity. The form celebrates the colourful dance of limited perception contained within the boundless mystery of wholeness without location.
The colours of form, the silent rustling of the autumn leaves in the distant tree, the swiftness of a bird cutting through the cool, dense atmosphere—the lights, sounds, colours, movement and feelings are unending in their infinite yet concise play of motion and vibration. Here one is, standing amongst and entangled, interjoined with and inseparable from the vast wholeness of all existence. The distance across lands and oceans is not. The earth breathes and pulses with immense energy and exchange between its constituents. Our breath is not more or less than this operation of nature. The garlic, onions or coffee on our breath is but a crystalline droplet of oil rolling across a wave in the sea of potential—a seemingly separated detail outside the skin of the essence of totality. Yet it is related, as all details are, in our ever-dividing investigation into the make-up of material and energy. But here lies the great danger, the trust in our fragmented interpretations, our separative and comparitive mathematics, our limited reality—our filtered and partial perceptions. The twinkling star in the dark night sky oscillates in colour flashes visible to the eye—in time, the rainbow appears but the source is pure light, white in essence and penetrating in power. The reflection of the green pigment beaming from the dusted spruce needles in the dead of winter paint our experience as the watcher but the limit to how greatly we are penetrated by light, energy and relationship is artificial. The wood used in the sculpture is Port Orford Cedar which gives a lemon-spice scent. It is bare in its finish. The surfaces and curves are fluid in smoothness and purity. The form celebrates the colourful dance of limited perception contained within the boundless mystery of wholeness without location.
The colours of form, the silent rustling of the autumn leaves in the distant tree, the swiftness of a bird cutting through the cool, dense atmosphere—the lights, sounds, colours, movement and feelings are unending in their infinite yet concise play of motion and vibration. Here one is, standing amongst and entangled, interjoined with and inseparable from the vast wholeness of all existence. The distance across lands and oceans is not. The earth breathes and pulses with immense energy and exchange between its constituents. Our breath is not more or less than this operation of nature. The garlic, onions or coffee on our breath is but a crystalline droplet of oil rolling across a wave in the sea of potential—a seemingly separated detail outside the skin of the essence of totality. Yet it is related, as all details are, in our ever-dividing investigation into the make-up of material and energy. But here lies the great danger, the trust in our fragmented interpretations, our separative and comparitive mathematics, our limited reality—our filtered and partial perceptions. The twinkling star in the dark night sky oscillates in colour flashes visible to the eye—in time, the rainbow appears but the source is pure light, white in essence and penetrating in power. The reflection of the green pigment beaming from the dusted spruce needles in the dead of winter paint our experience as the watcher but the limit to how greatly we are penetrated by light, energy and relationship is artificial. The wood used in the sculpture is Port Orford Cedar which gives a lemon-spice scent. It is bare in its finish. The surfaces and curves are fluid in smoothness and purity. The form celebrates the colourful dance of limited perception contained within the boundless mystery of wholeness without location.
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Abstract Wood Sculpture - The Vastness of Experience No.1 - Port Orford Cedar - Freestanding, Modern, Contemporary, Dynamic, Natural Sculpture

Mike Sasaki

Canada

Sculpture, Wood on Wood

Size: 9 W x 6.5 H x 5.5 D in

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Originally listed for $2,290
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About The Artwork

The colours of form, the silent rustling of the autumn leaves in the distant tree, the swiftness of a bird cutting through the cool, dense atmosphere—the lights, sounds, colours, movement and feelings are unending in their infinite yet concise play of motion and vibration. Here one is, standing amongst and entangled, interjoined with and inseparable from the vast wholeness of all existence. The distance across lands and oceans is not. The earth breathes and pulses with immense energy and exchange between its constituents. Our breath is not more or less than this operation of nature. The garlic, onions or coffee on our breath is but a crystalline droplet of oil rolling across a wave in the sea of potential—a seemingly separated detail outside the skin of the essence of totality. Yet it is related, as all details are, in our ever-dividing investigation into the make-up of material and energy. But here lies the great danger, the trust in our fragmented interpretations, our separative and comparitive mathematics, our limited reality—our filtered and partial perceptions. The twinkling star in the dark night sky oscillates in colour flashes visible to the eye—in time, the rainbow appears but the source is pure light, white in essence and penetrating in power. The reflection of the green pigment beaming from the dusted spruce needles in the dead of winter paint our experience as the watcher but the limit to how greatly we are penetrated by light, energy and relationship is artificial. The wood used in the sculpture is Port Orford Cedar which gives a lemon-spice scent. It is bare in its finish. The surfaces and curves are fluid in smoothness and purity. The form celebrates the colourful dance of limited perception contained within the boundless mystery of wholeness without location.

Details & Dimensions

Sculpture:Wood on Wood

Original:One-of-a-kind Artwork

Size:9 W x 6.5 H x 5.5 D in

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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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