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Sumi ink, Nikawa and mineral pigments (Copper blue and Pencil Clay powder) on reclaimed Washi papers, mounted on wood panel.
70 x 100 x 4 cm ⸺ 2024
Signed, sealed with cinnabar paste,
title, year + catalogue number on the verso
Ready to hang
Certificate of authenticity included
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Fragmentation N°63
The Fragmentation works begin with discarded Washi papers — sketches, damaged drawings, and failed attempts. Cut, reworked, and reassembled, each fragment is transformed through dyeing, glazing, or overpainting before finding its place in a new composition. Drawing inspiration from the Japanese Boro tradition, the series embraces the beauty of imperfection and the philosophy of Wabi-Sabi.
This piece is part of the Grids — an approach in which uniform fragments are cut and reassembled into structured, repetitive compositions.
⸺
> See all Fragmentation paperworks
> See all Fragmentation wood panels
> See all Grid pieces
> Read more about Fragmentations
⸺
⸺
Sumi ink, Nikawa and mineral pigments (Copper blue and Pencil Clay powder) on reclaimed Washi papers, mounted on wood panel.
70 x 100 x 4 cm ⸺ 2024
Signed, sealed with cinnabar paste,
title, year + catalogue number on the verso
Ready to hang
Certificate of authenticity included
⸺
Fragmentation N°63
The Fragmentation works begin with discarded Washi papers — sketches, damaged drawings, and failed attempts. Cut, reworked, and reassembled, each fragment is transformed through dyeing, glazing, or overpainting before finding its place in a new composition. Drawing inspiration from the Japanese Boro tradition, the series embraces the beauty of imperfection and the philosophy of Wabi-Sabi.
This piece is part of the Grids — an approach in which uniform fragments are cut and reassembled into structured, repetitive compositions.
⸺
> See all Fragmentation paperworks
> See all Fragmentation wood panels
> See all Grid pieces
> Read more about Fragmentations
⸺
