Closed Forms II: kon

Closed Forms II: kon

In 1977, Mitsui Katsui held his solo exhibition "Closed Forms" at Galerie Watari (the predecessor of the Watari Museum of Contemporary Art), and at that time he presented a series of prints (silkscreens) with the same name as the exhibition title. The group of works showing infinite hues in geometric forms is an art piece born from a unique conceptualization by Katsui, who was involved in the creation of the DIC color guide. This series, which is a sequel to the "Closed Forms" series, carries on the concept of the previous work, but makes a complete change from the seemingly futuristic vivid colors to a stoic yet captivating black gradation created by Japanese paper and ink. This series also shows Katsui's strong interest in textures such as the soft texture of Japanese paper and the lacquer-like luster of ink. It is the perfect combination of sophisticated design and fine craftsmanship. The late Keizaburo Yamaguchi, an ukiyo-e researcher, said that he felt "the brilliance of illumination" and "a stateliness that sinks deep into one's heart" from this group of works.

Born in Tokyo in 1931. Graduated from the Tokyo University of Education. After working at the advertising department of Ajinomoto, founded the Katsui Design Office in 1961. Worked on graphic design in general, including posters, signs, and editorial design. Served as art director at international expositions such as the 1970 Osaka Expo, the 1975 Okinawa Ocean Expo, and the 1985 Tsukuba Science Expo. Received numerous awards including the Nissenbi Award, the Mainichi Industrial Design Award, the Kodansha Publication Culture Award, the Tokyo ADC Member Award, the Minister of Education Award for Art Encouragement, the Yusaku Kamekura Award, and various grand prix and golden awards around the world including Warsaw. He was President of JAGDA (the Japan Graphic Design Association), member of the Tokyo Art Directors Club and AGI (Alliance Graphique Internationale), and Professor Emeritus at Musashino Art University. Passed away in 2019.

Price

¥35,000

About the Frame for Mitsuo Katsui “Closed Forms II”

About the Frame for Mitsuo Katsui “Closed Forms II”


Dimension of frame : 55.0 × 40.0 cm
Specification of frame: Approx. 1.8kg, aluminum, acrylic resin

 

About the Frame for Mitsuo Katsui “Closed Forms II”

About the Frame for Mitsuo Katsui “Closed Forms II”


Dimension of frame : 55.0 × 40.0 cm
Specification of frame: Approx. 1.8kg, aluminum, acrylic resin

 
Quantity:
Size/WeightImage Size: 37.0 × 21.0 cm
Material Paper: Echizen Kizuki Hosho Washi made by Living National Treasure, Ichibei Iwano
FeatureType of print: Woodcut print

Based on the belief that not only the reproduction of historic ukiyo-e but also the production of “contemporary ukiyo-e” is essential to pass on traditional woodcut printing techniques to future generations, in 1979, the Adachi Institute of Woodcut Prints produced and published a collection of original woodcut prints entitled “Japanese Woodcut Prints Today” with the concept of “encounter between traditional woodcut prints and contemporary artists.” “Japanese Woodcut Prints Today” is the foundation of Adachi Institute's recent collaborations with contemporary artists from both home and abroad and its production of original woodcut prints.

The project received the support of five designers and illustrators then working on the frontlines of their fields – Kiyoshi Awazu, Mitsuo Katsui, Ikko Tanaka, Shoji Yamafuji and Makoto Wada – who worked with the artisans at the Adachi Institute of Woodcut Prints to produce original woodcut prints. The completed works were shown at the exhibition “Japanese Woodcut Prints Today” held at the Riccar Museum (present day Hiraki Ukiyo-e Foundation) and garnered a great deal of attention.

Together with Mitsuo Katsui, who has been a leader in the Japanese graphic design world for over half a century, we have created a highly experimental work "Closed Forms II," with six designs that challenge the limits of traditional woodcut printing techniques.

アダチ版画の想い

私たちアダチ版画研究所は、伝統的な木版技術の基本を守りながら、
時代にあった魅力ある作品を創造してまいります。

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こだわりの品質・素材

アダチ版画研究所では、木版本来の美しさを最大限に引き出すために、厳選した素材と道具を使用しています。

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伝統の技術・職人

商業印刷として発展した浮世絵の制作は、効率や採算性が重視されたことから、すべての工程において無駄がなく洗練されています。浮世絵の技術の基本をご紹介します。

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