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Takesada MatsutaniGutai Object, Paris Period by Takesada Matsutani1983
1983
About the Item
Gutai Object, Paris Period by Takesada Matsutani
Important organic abstraction in polyvinyl acetate adhesive on vinyl by Takesada Matsutani (Japanese, b. 1937). Titled "Objct" on verso. Signed and dated (1983) on verso with "Japan, Paris, S.F" delinated. Unframed. Image size: 47"H x 37"W. x 3"D
Condition: Good: some bending and creasing to thinner edge areas top center and all corners, vinyl on lower right corner and under signature. One image shows a patch of vinyl tape, this is the artists access port for adding air under the acrylic glue to pump up the area. We will mount on Sturdy foam core and make the conservation minor fixes to the vinyl layers prior to shipping.
From the early sixties to the early seventies, Matsutani was a key member of the ‘second generation’ of the Gutai Art Association (1954 – 1972), Japan’s innovative and influential art collective of the post-war era. One of the most important Japanese artists working today, Matsutani’s paintings and performances from throughout his practice demonstrate the ethos of Gutai, translated into an artistic language that is uniquely his own.
In the 1960s, Matsutani began experimenting with vinyl glue, a material that first entered into mass production in Japan following World War II. Matsutani deposited the glue onto his canvases and allowed it to run down the surface. Matsutani recalls ‘The glue began to drip and as it dried, stalactites formed, which looked like the udders of a cow’.
Inspired by the shapes of blood samples he had observed, Matsutani developed this technique further, using hairdryers, fans and his own breath to create bulbous forms reminiscent of the curves of the human body. This painting exemplifies these early experimentations with vinyl glue, a material that continues to fascinate the artist to this day.
In 1966, Matsutani moved to Paris and began working at William Hayter’s renowned print-making studio, Atelier 17. When the Gutai Art Association disbanded in 1972, Matsutani was able to transition from the artistic style of his Gutai period into a radical yet consistent new body of work, informed in part by his experience at Atelier 17, in which he expressed a greater depth of understanding of pictorial space and composition.
Matsutani’s later paintings bring together the artist’s signature media, vinyl glue, with graphite. In a marked difference from the raw rendering of his early works, Matsutani carefully controls the glue as it moves across his canvases, making or deflating pockets of air and creating new ridges, wrinkles and crevices as the adhesive hardens. Matsutani then covers the surface in methodical, almost meditative, graphite lines. The shapes created resemble the unbridled energy of a crashing wave or the inside of a seed preparing to germinate, whilst the graphite reflects light, teasing out hints of texture, depth and volume.
- Creator:Takesada Matsutani (1937, Japanese)
- Creation Year:1983
- Dimensions:Height: 47 in (119.38 cm)Width: 37 in (93.98 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Some bending and creasing and a few splits on corners and leading edges. Will need to be remounted on ply as artist intended.
- Gallery Location:Soquel, CA
- Reference Number:
Takesada Matsutani
Takesada Matsutani is a Japanese avant-garde artist based in Paris and Nishinomiya. Active as a painter since the 1950s, Matsutani's practice has also included object-based sculpture, printmaking and installation. Matsutani was a member of the Gutai Art Association from 1963 until its dissolution in 1972. Gutai leader Jirō Yoshihara prioritized artistic innovation and originality, a lesson that has remained with the artist throughout his career. Since 1961, Matsutani has used wood glue, what was then a newly available material in post-war Japan, to create organic forms on the surface of the canvas. Fascinated by the variety of evocative shapes that revealed themselves through his manipulation of the glue mixed with paint, the artist regularly returned to these biomorphic forms across a variety of mediums and styles, even adapting them to the context of hard-edge painting in the 1970s. After receiving a scholarship to study for six months in Paris in 1966, Matsutani chose to settle there permanently. Throughout the late 1960s and 1970s, he worked primarily as a printmaker. Since the late 1970s, in parallel to his painting practice, Matsutani has been using graphite and paper as the base for large-scale installations, entitled Streams. These works, finalized by a performance of the artist in situ, explore time, energy and transformation in muted tones of black and white. Matsutani's works are represented in a large number of art museums and collections around the world. In 2002 the artist, who has lived a large part of his childhood in Nishinomiya, received the Nishinomiya City Cultural Award.
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