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Miki Wanibuchi Untitled, Walking in Tenma Project #036/100, 2014

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Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100
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Informations about this artwork
  • Medium

    Drawing : acrylic

  • Dimensions cm | inch

    14.5 x 13.7 x 0 inch

  • Support

    Drawing on paper

  • Framing

    White wood frame with museum glass

  • Artwork dimensions including frame

    20.9 x 20.9 x 2.4 inch

  • Type

    Unique work

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • Offered by the gallery

    galerie bruno massa
    Paris - France

  • About the artwork

    Artwork sold in perfect condition

    Miki Wanibuchi (JPN)

    Born in 1981 in Osaka, Japan
    Lives & works in Osaka, Japan

    A white surface becomes the boundary which separates the viewer from the other side of the painting. In order to pursue where one meets the other – or the world, the artist has been walking on that boundary and making it my subject matter. Physical input, such as walking around the place where there seems to be a boundary and touching the earth, are important aspects of my artwork. This is because it seems necessary to carefully touch each one by one to actually “know the world”, or perceive the difference between one and the other. In the things produced during this process, Miki Wanibuchi believes there should be real action, traces and tracks of the artist, and this is what I create in my artwork as an artist. Furthermore, my objective is to provide the viewer with a chance to think about knowing others, and perceiving the world.

    The artist thinks it is not so easy to truly know others, and we need imagination to understand that we are all different. In her recent works, people may feel that they cannot find any detailed explanations in the paintings, mostly covered with white, with the exception of a subtle hint of colour and texture, emerging from underneath or at the edges of the canvas. The white surface represents the abandonment of images and emotions of the artist and my intention is to make the viewer perceive the physical aspects of paint and canvas. The main concept is to allow the viewer to look beyond the white surface, in other words, to look closer at what is in between the canvas as an object and the image an artist would normally paint. The painter would like the viewer to pay attention to where the artist’s intention and evidence are hidden.

    In recent society, our senses seem to have been become dulled; however, Miki believe that the silence in the pared-down painting leaves the viewer to hone their thinking and imagination in confronting this vagueness. An aesthetic may result from this, leading us to try to know others and the world, and as a result, The artist feel we will find a power in our pursuit to gently heal the world.

    Education

    2012 MA, Arts University Bournemouth, UK
    2004 BFA, Kindai University, Japan
    The 27th HOLBEIN Scholarship (2012-2013)
    Read more
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Miki Wanibuchi

Japan Born in: 1981 Emergent Artist

Miki Wanibuchi lives and works in Osaka, Japan.

In 2012 he got an MA from the Arts University Bournemouth, UK; in 2004 he got his BFA from the Kindai University, Japan. He was awarded the 27th Holbein Scholarship (2012-2013). Qualification in 2005: Second Grade in Colour Coordination. By All Japan Fashion Teachers Inc.

Miki Wanibuchi is a fine artist who pursues boundary lines. These boundary lines act like separative surfaces which distinguish themselves between one and the outside world, the inner and outer side of ourselves. It is an important aspect for her to depict it and to define herself and the world. She believes, as a result, it would serve as a trigger to truly know others when we realise the boundaries that could exist.

The white surface is supposed to be the boundary which separates the viewer and the other side of the surface plane. It could act like separative surface which distinguishes itself between one and the outside world, the inner and outer side of ourselves. What they would see beyond it should be an accumulation of experiences, common knowledge and understanding, and the imagination acting on it. What the artist actually wants to communicate may not always be conveyed to the viewer. However, my art work allows each viewer to see it differently. Thus we need to understand the differences of people's individual thoughts.

We cannot help but be aware of individual differences which can act as a barrier when we try to understand others and the world. Because when we meet people and have individual experiences, we all might bring to this encounter our own biases, and one cannot take “common sense" for granted, because this could depend on one's individual environment and experiences.

When we realise this, however, She believes, as a result, it would serve as a trigger to truly know others and the way they perceive things, to understand the world and to lead us know more about ourselves as well. We enjoy enormous amounts of internet information through a touch screen these days. It sometimes makes me feel frightened of the attitude that we easily think as if we know the entire world. People seem to perceive this flood of information, which can be true or false, as a stimulus without thinking, but is it such a really easy thing to “know"?

In her recent works, people may feel that they cannot find any detailed explanations in a painting, mostly covered with white, with the exception of a subtle hint of colour and texture, which emerges from the opening, underneath or edges of the canvas. The white surface represents that images and emotions of the artist are abandoned, because I have an intention to make the viewer perceive the physical aspect of paint and canvas. The subject matter is to allow the viewer to look closer at what's in between the canvas as an object and the image the artist would like to communicate. Boundaries could exist there, and I would like the viewer to pay attention to it where the artist's evidence is hidden. And, as a result, I would like the viewer to hone their thinking and imagination confronting this vagueness.

Our senses would have been dulled these days, however, I believe silence in the painting leaves the viewer to pursue the meaning of the painting, their own aesthetic sense, and the world of themselves. And I feel we will find a power to gently heal the world when we pursue it.

Read more


Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100
Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100 Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100 Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100 Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100 Miki Wanibuchi, Untitled, Walking in Tenma Project #036/100