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Carved from yellow cedar, Butoh Tripod No.3 has strong diagonals making it a very dynamic piece. The curves and surfaces are highly refined. Great attention is given to the details and subtleties of the form The openness of the concavity suggests introspection and inner being. Inspired by the butoh dance form, I sought to give the sculpture a feeling of controlled contortion of body combined with this inner expression. I also wanted to instill a sense of slight melancholy amidst the pureness of form. In butoh, the dancers' bodies are held and moved through rather uncommon poses. The movements are at times slow and drawn out and at other times abrupt and paroxysmal. One of the root ideas in the dance is the summoning of our original nature. The carving block consists of two pieces, which I cut from the same stock, and laminated together with wood glue. The grain is directed strategically to compliment the piece or vice versa. The process starts with planing both sides flat with a hand plane before the glue-up. To carve out the form I used saws, chisels, rasps, a drawknife, other knives, and sand paper. The final form is smooth. Holding it in the hands and feeling the curves adds to the viewing experience. It is coated with beeswax and mineral oil.
Carved from yellow cedar, Butoh Tripod No.3 has strong diagonals making it a very dynamic piece. The curves and surfaces are highly refined. Great attention is given to the details and subtleties of the form The openness of the concavity suggests introspection and inner being. Inspired by the butoh dance form, I sought to give the sculpture a feeling of controlled contortion of body combined with this inner expression. I also wanted to instill a sense of slight melancholy amidst the pureness of form. In butoh, the dancers' bodies are held and moved through rather uncommon poses. The movements are at times slow and drawn out and at other times abrupt and paroxysmal. One of the root ideas in the dance is the summoning of our original nature. The carving block consists of two pieces, which I cut from the same stock, and laminated together with wood glue. The grain is directed strategically to compliment the piece or vice versa. The process starts with planing both sides flat with a hand plane before the glue-up. To carve out the form I used saws, chisels, rasps, a drawknife, other knives, and sand paper. The final form is smooth. Holding it in the hands and feeling the curves adds to the viewing experience. It is coated with beeswax and mineral oil.
Carved from yellow cedar, Butoh Tripod No.3 has strong diagonals making it a very dynamic piece. The curves and surfaces are highly refined. Great attention is given to the details and subtleties of the form The openness of the concavity suggests introspection and inner being. Inspired by the butoh dance form, I sought to give the sculpture a feeling of controlled contortion of body combined with this inner expression. I also wanted to instill a sense of slight melancholy amidst the pureness of form. In butoh, the dancers' bodies are held and moved through rather uncommon poses. The movements are at times slow and drawn out and at other times abrupt and paroxysmal. One of the root ideas in the dance is the summoning of our original nature. The carving block consists of two pieces, which I cut from the same stock, and laminated together with wood glue. The grain is directed strategically to compliment the piece or vice versa. The process starts with planing both sides flat with a hand plane before the glue-up. To carve out the form I used saws, chisels, rasps, a drawknife, other knives, and sand paper. The final form is smooth. Holding it in the hands and feeling the curves adds to the viewing experience. It is coated with beeswax and mineral oil.
Carved from yellow cedar, Butoh Tripod No.3 has strong diagonals making it a very dynamic piece. The curves and surfaces are highly refined. Great attention is given to the details and subtleties of the form The openness of the concavity suggests introspection and inner being. Inspired by the butoh dance form, I sought to give the sculpture a feeling of controlled contortion of body combined with this inner expression. I also wanted to instill a sense of slight melancholy amidst the pureness of form. In butoh, the dancers' bodies are held and moved through rather uncommon poses. The movements are at times slow and drawn out and at other times abrupt and paroxysmal. One of the root ideas in the dance is the summoning of our original nature. The carving block consists of two pieces, which I cut from the same stock, and laminated together with wood glue. The grain is directed strategically to compliment the piece or vice versa. The process starts with planing both sides flat with a hand plane before the glue-up. To carve out the form I used saws, chisels, rasps, a drawknife, other knives, and sand paper. The final form is smooth. Holding it in the hands and feeling the curves adds to the viewing experience. It is coated with beeswax and mineral oil.
Carved from yellow cedar, Butoh Tripod No.3 has strong diagonals making it a very dynamic piece. The curves and surfaces are highly refined. Great attention is given to the details and subtleties of the form The openness of the concavity suggests introspection and inner being. Inspired by the butoh dance form, I sought to give the sculpture a feeling of controlled contortion of body combined with this inner expression. I also wanted to instill a sense of slight melancholy amidst the pureness of form. In butoh, the dancers' bodies are held and moved through rather uncommon poses. The movements are at times slow and drawn out and at other times abrupt and paroxysmal. One of the root ideas in the dance is the summoning of our original nature. The carving block consists of two pieces, which I cut from the same stock, and laminated together with wood glue. The grain is directed strategically to compliment the piece or vice versa. The process starts with planing both sides flat with a hand plane before the glue-up. To carve out the form I used saws, chisels, rasps, a drawknife, other knives, and sand paper. The final form is smooth. Holding it in the hands and feeling the curves adds to the viewing experience. It is coated with beeswax and mineral oil.
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Abstract Wood Sculpture - Butoh Tripod No.3 - Carved From Yellow Cedar With Hand Tools - Smooth, Modern, Natural, Freestanding, Dynamic Sculpture

Mike Sasaki

Canada

Sculpture, Wood on Wood

Size: 5.5 W x 4 H x 3 D in

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Originally listed for $305
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About The Artwork

Carved from yellow cedar, Butoh Tripod No.3 has strong diagonals making it a very dynamic piece. The curves and surfaces are highly refined. Great attention is given to the details and subtleties of the form The openness of the concavity suggests introspection and inner being. Inspired by the butoh dance form, I sought to give the sculpture a feeling of controlled contortion of body combined with this inner expression. I also wanted to instill a sense of slight melancholy amidst the pureness of form. In butoh, the dancers' bodies are held and moved through rather uncommon poses. The movements are at times slow and drawn out and at other times abrupt and paroxysmal. One of the root ideas in the dance is the summoning of our original nature. The carving block consists of two pieces, which I cut from the same stock, and laminated together with wood glue. The grain is directed strategically to compliment the piece or vice versa. The process starts with planing both sides flat with a hand plane before the glue-up. To carve out the form I used saws, chisels, rasps, a drawknife, other knives, and sand paper. The final form is smooth. Holding it in the hands and feeling the curves adds to the viewing experience. It is coated with beeswax and mineral oil.

Details & Dimensions

Sculpture:Wood on Wood

Original:One-of-a-kind Artwork

Size:5.5 W x 4 H x 3 D in

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Mike Sasaki was born in Toronto, Canada. He graduated from the Bachelor of Design Honours program at York University / Sheridan College in 2005. He lived in Tokyo, Japan for 5 years where he was immersed in traditional and modern Japanese culture. The martial arts philosophies have played an important role in his artistic development. In his search for a hands on approach he has found sculpting in wood a wonderful solution. He is currently living in Metro Vancouver and focusing on the metamorphic line of abstract wood forms.

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