Page 246 - 亚洲二十世纪及当代艺术

59 ̋ᖸݰ b.1969 Izumi Kato

ೌᕚ Untitled
ذ੹ ೥̺ Oil on canvas
3
1
ɚ㖼㖼̬ϋЪ 130.3 × 194 cm. 51 /4 × 76 /8 in.
Painted in 2004
ಛᗆ
2004 ˜KATO ݰ™€೥ߠ Signed with the artist’s name in English and
Kanji and dated on the reverse
Ը๕ PROVENANCE
؇ԯዡੀ೥఼ SCAI the Bathhouse, Tokyo
ତԭݲࠠࠅӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ Acquired directly by present important
ൗj೥ߠ൨Ϟ؇ԯዡੀ೥఼ᅺᜀ private Asian collector from the above
Note: A label of Tokyo SCAI the Bathhouse is
HKD 800,000 – 1,500,000 affixed on the reverse ̋ᖸݰೌᕚ‘ذ੹೥̺d53 Ò 45.5 cmd
USD 102,600 – 192,300 2003 ϋЪdשርϓʹᄆ 567,000 ʩಥ࿆

Three gives birth to the Ten Things.” His depictions of totemic that resemble the inside of a “snake swallowing an elephant,”
extraterrestrial beings, cord-patterned Neolithic pottery, as if intentionally redrawn by adults who misunderstood the
Sanxingdui figures, and indigenous African tribes easily evoke Little Prince. By referencing this allusion, Kato visualizes
associations with embryos, plants, insects, and more. The the memories of human infancy from a child’s perspective.
unity of humans and divinity radiates a transcendent serenity, The artwork features a background in sand white, with the
imbued with spirituality and childlike innocence. Created in figures predominantly in black, adorned with accents of red
2004, the Untitled stands as one of the few large-scale early and green, representing the three stages of life’s evolution.
masterpieces by the artist, ranking as the second-largest Among them, the elongated figure on the far left, with limbs
piece in auction history from 1990 to 2004. Its release at this extended, resembles an embryo in the early stages of cell
time is truly a rare opportunity. division. Complementary green cells and red blood vessels,
Returning to the Essence of All Things connected by the umbilical cord to the maternal body, strive
to evolve and take shape. Shifting the gaze to the right, a
Kato believes that naming his artworks would limit the viewers’
thinking. Therefore, he intentionally refrains from giving titles new-born baby cries out as it descends to the ground. Kato
to his works. If we were to liken Kato’s artistic journey to a book, highlights the eyes with a bright white, capturing the first
his early works are reminiscent of the enigmatic symbol of the glimmer upon encountering the world. The darkly painted
hat in Antoine de Saint-Exupéry’s The Little Prince. Untitled body alludes to the hazy memories of chaotic beginnings.
depicts three stages of human growth during childhood. In the centre of the composition, a reclining giant baby with
The three main characters in the painting are delicately raised legs gradually sheds the dissipating film that covers it.
enveloped by a transparent film, with undulating contours This signifies the baby breaking free from swaddling clothes,
learning to roll over, and gradually gaining autonomy. The round
red cheeks and the crescent-shaped white earlobe accentuate
its vitality. As the gaze traverses the painting, a child standing
still suddenly emerges in the distance, as if the artist himself
or a transcendent and conscious third party is observing the
journey of this life before them.
After regaining painting, Kato has once again grasped the
essence of the divine role. It not only provides solace but also
encapsulates the awe-inspiring omnipotence of the natural
world. It serves as a constant reminder for humanity to harbour
a perpetual sense of humility. Moreover, this piece articulates
his cosmology. The enigmatic and profoundly penetrating
ambiance of these works leaves an indelible impression on
the viewer. Thus, this period of artistic creation serves as a
poignant portrayal, guiding Kato’s enduring journey of artistic
̋ᖸݰೌᕚ‘dذ੹೥̺ d62.5 Ò 100 cmd2004 ϋЪdשርϓʹᄆ 1,375,000 ʩಥ࿆ exploration.

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