I have once described the marble sculptures of Kan Yasuda as,
in a word, extremely meditative tranquility.

I did not elaborate what meditative sculptures actually meant.
I wanted to say that certain sort of art works always referred to relation
between humans and nature.
Because it is same humans
who create sculptures and meditate,
they can always meditate through works which confront nature.

It is indeed mysterious that the works of Kan Yasuda create new nature
and scenery which is most suitable to the sites,
wherever they are installed.
Considering the fact that, however,
it is humans who discover such new nature and scenery,
we realize that presence of the works is imperceptibly surrounded
by non-existing presence.

Tensei and Tenmoku in the ruins of ancient Rome create the exactly
same natural space as those on lawns in Bibai,
and present us space beyond time.
The newly created nature neither departs
from the existing nature nor precisely penetrates it.
I would say that it creates new meditation
in fusion of new and old,
and continues whispering quietly to life of humans.

 

Tensei, Tenmoku Touching the Time, Roma, Italy

Tensei, Tenmoku “Touching the Time”, Roma, Italy

 

Tensei, Tenmoku Arte Piazza Bibai, Hokkaido

Tensei, Tenmoku Arte Piazza Bibai, Hokkaido

 

At the outdoor solo exhibition in Milan in 1991,
his marble sculptures blended into the city
much more than the sculptures of Pomodoro did.
The exactly same voices of marble were presented
at the exhibition in beautiful nature of Yorkshire Park in 1995 as well.

We live through or owing to some existence other than humans.
I believe that, in the case such existence is white marble,
the works of Kan Yasuda send us the message that
we should consider the opportunity that existence drawn
by the space teaches us how to live,
particularly through much of meditation.

A series of the works of Kan Yasuda presented this time
at a large exhibition in Hokkaido,
his native place, keep drawing our attentions.
Undoubtedly, his works exist as if they have long existed there.
In a sense, we would be able to witness the moment that scenery becomes art,
art becomes scenery,
and new natural space is created in an extremely meditative manner.

It means that we would have an experience to find
that the fact new natural scenery is created in Hokkaido
means new scenery can be created anywhere.
Such an eternal trace as meditation should be maintained
in tangible works by a single artist.
I believe that it is extremely necessary to place a purpose
in life being dialoged by art works
in front of extraordinary life of today.

Masaaki Iseki
Director of Tokyo Metropolitan Teien Art Museum

 

▶︎Exhibitions / Touching the City