MADSAKI (B. 1974)
Potato Chip
signed ‘madsaki 2017’ (on the reverse)
acrylic and aerosol on canvas
241 x 190 cm. (95 x 75 in.)
Pained in 2017
Kaikai Kiki Gallery, Tokyo, Japan
Private Collection, Asia (Acquired from the above by the present owner)
Tokyo, Japan, Kaikai Kiki Gallery, HERE TODAY, GONE TOMORROW, May-June 2017.

Brought to you by

Ada Tsui (徐文君)
Ada Tsui (徐文君)

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Lot Essay

“While drawing her in my studio, there were many times that I could not stop crying. Transience. I want to believe that these feelings of love and strong connection will last for eternity.”

In Potato Chip, the artist presented the viewer with a glimpse into the intimacy of his wife's daily routine, deliberately inviting us into his own universe as we admire the artist’s display of rich imagery. Much like artists from impressionism i.e. Monet, Degas, Bonnard etc., it was during this art movement when the concept of keyhole viewpoint was popularized. By adopting spray paint as a fine art medium, MADSAKI actively engages the canvas space where he imprints his artistic marks and unleashes the expressive energy from the aerosol paint, particularly with dripping stains running down from the black hollow eyes. This fluidity of pigment unveils the working process of MADSAKI, with every small paint decision contributed to immortalizing a moment in time. While looking at this painting, MADSAKI purposely situated viewers in an intimated space as if they are intruding her during a private life. Across this expansive canvas, the present lot depicts a half-naked woman clothed in kimono at a Japanese- style room eating chips and having a busy table behind as if she were on a vacation. This significant "Wife Series" of drawing helped the artist further notice how much he loves his wife and he burst into tears several times.

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