Bronze Sculpture for Sale
Painting : mixed media · 24 x 24 x 4 cm 9.4 x 9.4 x 1.6 inch
Shipped from: Spain
Delivery to: United States , $ 237
Estimated delivery: Three to four weeks
Free returns within 14 days, full refund
Sold with certificate of Authenticity from the artist
Invoice from the gallery Learn more
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Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Not Signed
Technique & Support
mixed media on board
Dimensions ( cm • inch )
24 x 24 x 4 cm 9.4 x 9.4 x 1.6 inch Height x Width x Depth
Art gallery
Credentials
Vetted seller since 2026
Within the conceptual layout of Act I——the artwork "Akane" belongs directly to the "Entrapment (The Resin)" stage. The name "Akane" translates from Japanese as "madder red" or "deep scarlet," resonating with the chromatic storytelling of the piece: the warmth of a crimson outer ring clashes against a cool turquoise center, revealing the subtle friction between external harmony and internal unrest.
Poetic Leitmotif (Haiku)
The artist's original verse articulates the central conflict: the internal flight of consciousness bound within an immobile form:
Composition, Palette, and Artistry
Concentric Circular Format (Tondo): Designed as an expansive circular panel, the work establishes an aesthetic dialogue with "Madama Butterfly". An inner portrait medallion, rimmed by fine crimson scallops, rests against a flat, vibrant turquoise field.
The Painted Portrait: Centered in the disk is Akane's delicately modeled face: alabaster skin with a soft blush, carmine lips, and dark hair swept into a classical arrangement adorned with ornamental hairpins and dangling accents. Her frontal gaze confronts the viewer directly, holding a quiet reserve and suspended vulnerability.
Stamped Typography: Stenciled in capital red letters across the top of the tondo, the name "AKANE" signals identification, inventorying, and bodily commodification.
A Swarm of Butterflies ("Flight within Her Mind"): Surrounding her hair and features is a swirl of butterflies rendered in violet, emerald, sky-blue, and ivory tints. They serve as a literal visualization of the haiku's closing thought (): an inner impulse toward freedom and escape that remains physically immobilized on the picture plane.
Outer Ornamental Band: The broader peripheral disk is rendered in warm coral-red tones populated by white cranes in mid-flight and blossoming sprays. The sharp polarity between crimson and turquoise () produces an assertive visual pulse.
Epoxy Resin Seal: The entire assemblage is encapsulated beneath a dense, crystalline layer of epoxy resin. This industrial vitrification seals the composition, preserving both the butterflies and the portrait like an entomological specimen suspended in synthetic amber.
Placement in the Exhibition's Narrative
The Illusion of Flight versus Stasis: "Akane" exposes the tragic contradiction of frozen mobility: while her mind ascends alongside the butterflies, her physical representation is irrevocably pinned by the clear polymer. The resin safeguards her flawless exterior while casting her as a captive of her own pristine elegance.
The Edge of Deconstruction: Stationed at the outer boundary of Act I, "Akane" illustrates how classical grace is sealed within an artificial casing, preparing the viewer for the unfiltered street violence and dark alleyways of Hanazono explored throughout Act II.
Eugenio Montoro Aybar (born 1974 in Granada, Spain, where he currently resides and works) is a distinguished visual artist, researcher, and educator holding a PhD in Fine Arts from the University of Granada, specializing in pictorial techniques and artistic procedures. Throughout his established career, he has combined rigorous academic research and fine art painting with the direction of monumental mural projects and heritage conservation initiatives on both national and international stages.
Among his prominent monumental achievements is the direction and coordination of the mural and decorative paintings for the full-scale replica of the Alhambra of Granada at the Al-Yamamah Royal Palace in Riyadh (Saudi Arabia), commissioned by King Fahd bin Abdulaziz. In Spain, he has led prestigious ecclesiastical restorations, including the monumental high altars of the Basilica of Saint Michael the Archangel and the Basilica of Saint Andrew in Granada, as well as the mural decorations of the Basilica of Lillo in Toledo.
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