(B. 1964)
signed 'Hiroyuki Matsuura' in English; dated '2009.12.31' (on the reverse of each panel); numbered '1/4; 2/4; 3/4; 4/4' (on the reverse of each panel, respectively)
acrylic and gold leaf on canvas, quadtych
each: 195 x 130 cm. (76 3/4 x 51 1/8 in.)
overall: 195 x 520 cm. (76 3/4 x 204 1/2 in.)
Painted in 2009

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Lot Essay

Hiroyuki Matsuura's proactive enthusiasm towards the constantly advancing technology that triggers cultural evolution is vividly integrated into charmingly amiable characters, astutely disclosing our inclination towards these characters to indicate our contemporary social tendencies and habits in our daily interaction, immersion, transformation, connectivity with digital media. His awareness of the human and computer symbiosis is communicated through animation as he found that more than language, animated characters have sparked greater artistic and personal intercommunication between people.

Windy Bunny - Red (Lot 1732) is three-dimensional evidence that these animated characters of Matsuura are no longer a figment of our imagination. A child is in its most adorably affable presentation of a rabbit; coated in stunning gleam of red, utterly modern, moreover surprisingly synthetic with its hollow manufactured form to perhaps suggest that one day such customized figurines may soon replace those of a human child. Ceaseless in his prophesy of the supremacy of technology, Matsuura renders a new belief system of Genesis (Lot 1520) to poignantly emphasize the inescapable, revolutionary effects of digital media that may soon diffuse the bridge between reality and virtual realm, consequently diminishing our inability to distinguish ourselves from the digital world by his daring reincarnation of religion, thus crafting his new morals, ethics and rules of the beginning of the new virtual world that he envisions. Here, the monkey exudes an indestructible force, consuming the grandeur canvas in dynamic action as the appointed hero of the new Genesis. The fur of the monkey god is sanctified with phenomenal sheen of gold-leaf locked in strapping structure of black graphic outlines, compressing his extraordinary energy insinuated by the highly animated composition in incomprehensible physical form and alert eyes. Although Matsuura's fast-forward imagination as such may appear as an utopian fantasy and merely fixated on the promises of the future; it simultaneously idealize future and in subtle reverse, also criticize the current society's inevitable escape to the digital realm when reality disappoints.

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