ARTISTS / Art after 1945
Hiromi Akiyama

Shadow Dimension No. 9
© Hiromi Akiyama / VG Bild-Kunst, Bonn

Hiromi Akiyama

Shadow-Dimension No. 9 / Shadow Dimension No. 9, 1995

Corten steel
260 × 260 × 210 cm

Unique
(AKIYA/S 25)

price upon request
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Literature: Hiromi Akiyama / Andreas Pfeiffer (eds.): Hiromi Akiyama. Sculptor. [Catalog of the exhibition in Heilbronn and Hannover with catalogue raisonné of the sculptures] = Heilbronner Museumskatalog Nr. 68, Städtische Museen Heilbronn, Heilbronn a. N., 1997, pp. 53 m. Fig.


In the 1990s Hiromi Akiyama develops his "Shadow" series, executed in granite or corten steel - the group of works consists of the series "Shadow (Dimension)" from 1990 and the series "Shadow (Time)" after 1992. With these works the sculptor achieves the highest level of elegence, both in the field of small and monumental sculpture. "Shadow-Dimension No. 9" from 1995 is an imposing large-scale steel sculpture that pushes the boundaries between walk-in sculpture and architectural enclosure. Both the opposing twisting of the square basic forms of the opening and the implied folding of the side walls obscure the theme of the square. Since the floor surface is also shifted into the room in this process, the complex spatial body defies its accessibility. Weight and lightness, inside and outside, closedness and openness are to be interpreted here less as flip sides of a coin than as interrelated relationships. In the sublimity of the form, the viewer associates tranquility; in the appearance, he is reminded of a monument. In this way, the artistry of a three-dimensional framing is given greater weight, whereby one perceives the emptiness within more consciously: not as nothingness, but as part of the whole. The motif of the framing shifted in itself turns the empty space into a real situation that changes continuously not only due to the changing position of the viewer. Far Eastern philosophy is combined here with the ideas of Concrete Art. With the shadow motif in the title, the artist alludes to its significance for Japanese culture, but it also testifies to the emphasized inclusion of spatial structures in the play of dimensionality: the shadow of a three-dimensional (spatial) object is of necessity two-dimensional, but because of its changeability in time - in contrast to the stone sculpture itself - it conveys the physical dimensions with the fourth dimension.
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