Wanari Capress

The concept of time as a constantly flowing entity eludes simplistic division into discrete moments, and the sensations and thoughts of those who live in such a temporal realm defy simple articulation and definition. Each passing moment is imbued with the experiences and emotions of the previous, resulting in an intricate and multifaceted array of sentiments that reflect the complexity of the human condition. The statue of a young girl, Wanari Capress, serves to epitomize this intricate amalgam of emotions, as her frontal orientation toward the observer and the sixteen expressions that adorn her 365-degree visage speak to the continuity of time and the ambivalence that permeates the human experience.
Wood, as a material that contains both water and oil, possesses a unique elasticity that enables it to be strong and delicate simultaneously, akin to the inherent ambivalence of the human psyche. Kanemaki Yoshitoshi (b.1972) contends that wood is the quintessential medium for conveying the intricacies within every human-being. This assertion is supported by the long-standing cultural tradition of wood carving in Japan, which is evidenced in Buddhist works such as the Eleven-faced Kannon that feature multi-faced human-form sculptures.
Kanemaki incorporates imagery from the Renaissance period and concepts from Cubism in Western art, while also integrating contemporary perspectives and designs. The resulting statues convey a profound sense of the zeitgeist.

The present lot will be included in the forthcoming catalogue of “Yoshitoshi Kanemaki sculpture works”, now in preparation to be published in 2023 by Geijutsu Shinbunsha Co., Ltd.