- Place where the work was made
- Media category
- Materials used
- five pieces; stoneware with colour slips
61.0 x 54.1 cm overall
a - head, 34 x 21.5 x 11.5 cm
b - horizontal piece for frame, 7.6 x 50.7 x 5.5 cm
c - vertical piece for frame, 7.6 x 61 x 5.8 cm
d - horizontal piece for frame, 7.6 x 54.1 x 5.5 cm
e - vertical piece for frame, 7.6 x 61 x 5.5 cm
- Signature & date
Signed and dated, part a, underside, lower c., incised "takumi Sato 2000".
Signed and dated, part b, underside, c. to c.r, inscribed, black ink"takumi /Sato 2000".
Signed and dated, part c, underside, c.l. to c.r., inscribed, black ink "takumi Sato 2000".
Signed and dated, part d, underside, c. to c.r., inscribed, black ink "takumi Sato 2000".
Signed and dated, part e, underside, c. to c.r., inscribed, black ink "takumi Sato 2000".
- Gift of the artist 2001
- Not on display
- Accession number
- © SATÔ Takumi
- Artist information
Works in the collection
Kyoto, where conventional styles in ceramics such as Raku ware continue their strong presence, also enjoys a tradition of innovative spirit, as exemplified by the radical ceramic art group 'Sodeisha' founded in 1948. This unique work by Sato, who was born and grew up in Kyoto, is a good example of this avant-garde tradition.
Born into a family of artists, Sato took up ceramics as his preferred medium, while also working with various other media in architectural commissions and installation projects.
Following sojourns in the United States and Australia, Sato began exploring his identity through a series of self-portraits. This is one of the series he created while at the College of Fine Arts, UNSW where he stayed for a year as a recipient of the Senior Asian Artist Scholarship in 2000. He was inspired by the Japanese word 'tsunami' that had become part of English vocabulary.
Asian Art Deptartment, AGNSW, June 2001.
Where the work was made