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拍品專文
Shozo Shimamoto was a founding member of the Gutai movement in 1954 and began studying painting with Gutai founder, Jiro Yoshihara (1905-1972) while studying at Kwansei Gakuin University.
In 1957 Shimamoto wrote an essay for the Gutai journal titled Efude shokei ron [Killing the paintbrush] in which he argued that the paintbrush had for too long dominated and restricted paint. Gutai strived to release previously hidden elements within the material by disposing the brush altogether. Therefore Gutai artists found many alternative methods of application and process, such as Yoshihara Michio (see lot 15) painting with a bicycle and Shiraga Kazuo with his feet. In addition, Gutai artists would present matter rather then represent it, allowing it to speak for itself. Uemae Chiyu layered matchsticks onto a board and combined with paint, sawdust and glue (Work, 1960) and here, Shimamoto has combined oil, concrete and ash, forming six circular mounds of material.
The work is accompanied by a certificate of authenticity issued by the Shozo Shimamoto Association, Archive ID 1212, dated 28.07.2014.
In 1957 Shimamoto wrote an essay for the Gutai journal titled Efude shokei ron [Killing the paintbrush] in which he argued that the paintbrush had for too long dominated and restricted paint. Gutai strived to release previously hidden elements within the material by disposing the brush altogether. Therefore Gutai artists found many alternative methods of application and process, such as Yoshihara Michio (see lot 15) painting with a bicycle and Shiraga Kazuo with his feet. In addition, Gutai artists would present matter rather then represent it, allowing it to speak for itself. Uemae Chiyu layered matchsticks onto a board and combined with paint, sawdust and glue (Work, 1960) and here, Shimamoto has combined oil, concrete and ash, forming six circular mounds of material.
The work is accompanied by a certificate of authenticity issued by the Shozo Shimamoto Association, Archive ID 1212, dated 28.07.2014.