Among the most memorable contributions to the inaugural Asia-Pacific Triennial of Contemporary Art in 1993, Shigeo Toya’s Woods III (1991-92) became one of the first large-scale installations to enter the Gallery's collection. Consisting of 30 squared-off tree trunks elaborately carved with a chainsaw and arranged in an open grid, the work is celebrated for its formal beauty as well as its poetic and philosophical allusions.
This presentation seeks to draw out ideas of inscription and excavation in Toya’s practice by placing Woods III in dialogue with contemporary Japanese art. Including works by Lee Ufan, Tokihiro Sato, Yoko Asakai, and Yuta Nakamura, it focuses on Toya’s approach to mark-making and giving form to the invisible as they relate to creativity, time, and the natural and constructed world.
Among the most memorable contributions to the inaugural Asia-Pacific Triennial of Contemporary Art in 1993, Shigeo Toya’s Woods III 1991-92 became one of the first large-scale installations to enter the Gallery's collection. Consisting of 30 squared off tree trunks elaborately carved with a chainsaw and arranged in an open grid, the work is celebrated for its formal beauty as well as its poetic and philosophical allusions. This presentation seeks to draw out ideas of inscription and excavation in Toya’s practice by placing Woods III in dialogue with contemporary Japanese art. Including works by Lee Ufan, Tokihiro Sato, Yoko Asakai and Yuta Nakamura, it focuses on Toya’s approach to mark-making and giving form to the invisible as they relate to creativity, time, and the natural and constructed world.
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