Magazine article Sculpture

New York

Magazine article Sculpture

New York

Article excerpt

Hiroyuki Okumura

Howard Scott Gallery

At first glance, one might mistake Hiroyuki Okumura's stone forms for a return to Surrealist sculpture, with comparisons ranging from Hans Arp to David Hare. But after taking the time to examine his machine- and hand-worked protrusions and inden- tations, one realizes that they have little in common with Surrealism or, for that matter, with Expressionism. Instead, Okumura's elegant sculp- tures reveal the emergence of nature as a state of mind and an emptiness far removed from the linguistic con- cept of absence as applied to 20th- century, Western aesthetics.

Two important works included in Okumura's recent show "Nest of Wind" illustrate this concept. The first, carved from volcanic rock (basalt) and carrying the same title as the exhibition, appears to lami- nate a large, but unknown machine part into the stone, as if it had been encased by flowing lava. Nest of Wind implies that culture and nature are not oppositional, but two ele- ments inextricably bound to one another. In contrast, in I am Against Wind, a complexly translucent, carved piece of onyx zigzags upward at a slight diagonal approximately 19 inches from its black marble base. …

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