.jpg?w=1)
Lot Essay
Born in Kyoto of a family of painters, Hisao Domoto (1928-2013) studied traditional Japanese painting before travelling to Paris in 1955, where he became an integral member of the Art Informel movement and befriended with rising painters such as Pierre Soulages and Zao Wou-Ki, taking on a leading role in the new wave of intense and radical painting. Abandoning his previous traditional approach, 1959-17 (Lot 611), painted in 1959, showcases a dynamic composition with powerful interwoven lines, reminiscent of nebulae and billowing waves, appearing like a new galaxy emerging from a chaotic universe after the Big Bang. Domoto once said the formation of his style was occasioned by a certain mysterious experience he had after surgery. The effect of anaesthesia led to a peculiar sensation, as if everything around him in the hospital room has vanished into whiteness1. He altered the images residing in his memories into curving and lyrical calligraphic strokes on white background in 1959-17 as if an endless swirl in cloudbanks. The composition of the painting appears to have resulted purely from impulse and spontaneity; however, it is, nonetheless, derived from the artist's rigorous control of balancing logic and nature, which has given the painting a sense of rhythmic harmony.
Around 1961, Domoto began seeking another form of expression with art, creating a series reminiscent of calligraphic brushstrokes of elongated horizontal lines, with two panels joined together to allow for sufficient creative space, as seen with Ensembles Binaires No. 25 (Binary Sets No. 25) (created in 1961, Lot 610). Employing the powerfully contrasting colours of black and white, the confident, dynamic strokes by Domoto exerted onto the distinctively divided composition give rise to a surging energy. An intense visual contrast is created with the black and white palette, with a vigorous, robust stroke of black spanning across the top portion of the two panels. On the white portion of the composition are dots that appear like splashes of ink, which are bleeding and spreading on the xuan paper, with a binary relationship formed between the two panels that is contrasting yet also harmonious. Domoto once said, 'The purpose of dissecting the canvas is to explore the relationship between 'the part' and 'the whole'. This is similar to that of a symphony orchestra, which requires the coordination of different instruments for enjoyable music to be performed.'2 In Ensembles Binaires No. 25 (Binary Sets No. 25), each panel seems to be in contrast with the other and could each be seen as a stand-alone piece; however, they also tell of a cohesive story when joined together, manifesting as a stunning and powerful visual statement.
1 Shinichiro Osaki,"Hisao Domoto: Movement and Discontinuity". Shinichiro Osaki, Etsuko Sugiyama (Eds.), Hisao Domoto Retrospective, The National Museum of Modern Art, Kyoto; & Setagaya Art Museum, Tokyo, Japan, 2005.
2 Same as above.
Around 1961, Domoto began seeking another form of expression with art, creating a series reminiscent of calligraphic brushstrokes of elongated horizontal lines, with two panels joined together to allow for sufficient creative space, as seen with Ensembles Binaires No. 25 (Binary Sets No. 25) (created in 1961, Lot 610). Employing the powerfully contrasting colours of black and white, the confident, dynamic strokes by Domoto exerted onto the distinctively divided composition give rise to a surging energy. An intense visual contrast is created with the black and white palette, with a vigorous, robust stroke of black spanning across the top portion of the two panels. On the white portion of the composition are dots that appear like splashes of ink, which are bleeding and spreading on the xuan paper, with a binary relationship formed between the two panels that is contrasting yet also harmonious. Domoto once said, 'The purpose of dissecting the canvas is to explore the relationship between 'the part' and 'the whole'. This is similar to that of a symphony orchestra, which requires the coordination of different instruments for enjoyable music to be performed.'2 In Ensembles Binaires No. 25 (Binary Sets No. 25), each panel seems to be in contrast with the other and could each be seen as a stand-alone piece; however, they also tell of a cohesive story when joined together, manifesting as a stunning and powerful visual statement.
1 Shinichiro Osaki,"Hisao Domoto: Movement and Discontinuity". Shinichiro Osaki, Etsuko Sugiyama (Eds.), Hisao Domoto Retrospective, The National Museum of Modern Art, Kyoto; & Setagaya Art Museum, Tokyo, Japan, 2005.
2 Same as above.