Untitled I (1), 2020
Print : etching · 41.9 x 29.8 cm 16.5 x 11.7 inch · Ready to hang
$9,170
9 170 $US
One of the last works available by this artist
Shipping & delivery
Shipped from: Japan
Delivery to: United States , $ 116
Estimated delivery: Three to four weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 120 copies
1 copy available
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
41.9 x 29.8 cm 16.5 x 11.7 inch Height x Width x Depth
Artwork dimensions including frame
43 x 53 cm 16.9 x 20.9 inch
Sold by
Art gallery
Credentials
Vetted seller since 2022 • Top Seller
Description
Izumi Kato is a Japanese artist who creates creatures that unfold in a universe of themselves. The familiarity of his embryonic forms remind us of our origins, while also seeming almost extraterrestrial and prompting our imagination to ponder their existence in the crevices of the world we live in. Taking inspiration from Shinto and Buddhist worldviews, his works explore how everything in our realm has a life of its own. Echoing methodology adopted by the Gutai artists, he painting with his hands, or creates sculptures from stone and wood, and the resulting works are elemental and reminiscent of the primitive. The figurative and tactile, folk elements of his work are fused with supernatural spirit to remind us of the visceral presence of grace and wondrous energy in ordinary things.
Presentation
Born in 1969 in Shimane, Japan. Lives and works in Tokyo, Japan.
Izumi Kato is beloved for his enigmatic fetal figures that are a composite of human and animal. While these bipedal creatures with dark penetrating eyes seem to tap into the primitive psyche of humankind, they are also lovable, appealing to the viewer's emotions for the simple naiveté inherent in them. Such qualities are enhanced by the tactility of the surface of his works achieved by the artist using his own hands in lieu of paint brushes to apply paint.
This primitive method not only gives him more control over realizing his artistic vision, but it also grants physical closeness between him and his work. Kato's child-like figures are in part an embodiment of the artist's skepticism of and rebellion against the academic tradition that was taught to him at Tokyo's prestigious Musashino Art University where he studied oil painting. Kato leaves all of his works untitled to give agency to the viewers in freely interpreting the works.
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