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One evening, soon after its completion, I caught a glimpse of Permeable Existence No.4 (viewable in same shop) on the shelf in the dark hallway. I could barely make out the contour of the form. My mind however filled in the blanks and I got an image of a different form. That form was "Slipping Through The Fissures of Time No.1" as seen here. The title came to mind soon after drawing down the form that I half saw, half imagined. I was also thinking of refering to it as a "derivative" of the former but thought that was too boring and technical sounding. However, it is a derivative—the first one of this kind. There was a bowl that was developed in a similar way, but it was derived from a grouping of objects on the ground in the dark hallway rather than an existing sculpture. This current piece is made from 3 pieces of yellow cedar trued and laminated. Amidst the sharp grain contrast there are a few traces of bluing in the wood including a very small dark spot at the front-bottom-center. This is a natural colouration, not a defect in workmanship. The other faint blue patterning near the top of the piece add some figure and character to the grain. Given the slightly narrow stance of the piece, it should be displayed on a sturdy surface away from potential bumps, as it could topple over if the surface is unstable and wobbly. That said, it is completely stable if undisturbed. The yellow cedar is polished and waxed. It is signed with the year on the bottom using a pyrography tool.
One evening, soon after its completion, I caught a glimpse of Permeable Existence No.4 (viewable in same shop) on the shelf in the dark hallway. I could barely make out the contour of the form. My mind however filled in the blanks and I got an image of a different form. That form was "Slipping Through The Fissures of Time No.1" as seen here. The title came to mind soon after drawing down the form that I half saw, half imagined. I was also thinking of refering to it as a "derivative" of the former but thought that was too boring and technical sounding. However, it is a derivative—the first one of this kind. There was a bowl that was developed in a similar way, but it was derived from a grouping of objects on the ground in the dark hallway rather than an existing sculpture. This current piece is made from 3 pieces of yellow cedar trued and laminated. Amidst the sharp grain contrast there are a few traces of bluing in the wood including a very small dark spot at the front-bottom-center. This is a natural colouration, not a defect in workmanship. The other faint blue patterning near the top of the piece add some figure and character to the grain. Given the slightly narrow stance of the piece, it should be displayed on a sturdy surface away from potential bumps, as it could topple over if the surface is unstable and wobbly. That said, it is completely stable if undisturbed. The yellow cedar is polished and waxed. It is signed with the year on the bottom using a pyrography tool.
One evening, soon after its completion, I caught a glimpse of Permeable Existence No.4 (viewable in same shop) on the shelf in the dark hallway. I could barely make out the contour of the form. My mind however filled in the blanks and I got an image of a different form. That form was "Slipping Through The Fissures of Time No.1" as seen here. The title came to mind soon after drawing down the form that I half saw, half imagined. I was also thinking of refering to it as a "derivative" of the former but thought that was too boring and technical sounding. However, it is a derivative—the first one of this kind. There was a bowl that was developed in a similar way, but it was derived from a grouping of objects on the ground in the dark hallway rather than an existing sculpture. This current piece is made from 3 pieces of yellow cedar trued and laminated. Amidst the sharp grain contrast there are a few traces of bluing in the wood including a very small dark spot at the front-bottom-center. This is a natural colouration, not a defect in workmanship. The other faint blue patterning near the top of the piece add some figure and character to the grain. Given the slightly narrow stance of the piece, it should be displayed on a sturdy surface away from potential bumps, as it could topple over if the surface is unstable and wobbly. That said, it is completely stable if undisturbed. The yellow cedar is polished and waxed. It is signed with the year on the bottom using a pyrography tool.
One evening, soon after its completion, I caught a glimpse of Permeable Existence No.4 (viewable in same shop) on the shelf in the dark hallway. I could barely make out the contour of the form. My mind however filled in the blanks and I got an image of a different form. That form was "Slipping Through The Fissures of Time No.1" as seen here. The title came to mind soon after drawing down the form that I half saw, half imagined. I was also thinking of refering to it as a "derivative" of the former but thought that was too boring and technical sounding. However, it is a derivative—the first one of this kind. There was a bowl that was developed in a similar way, but it was derived from a grouping of objects on the ground in the dark hallway rather than an existing sculpture. This current piece is made from 3 pieces of yellow cedar trued and laminated. Amidst the sharp grain contrast there are a few traces of bluing in the wood including a very small dark spot at the front-bottom-center. This is a natural colouration, not a defect in workmanship. The other faint blue patterning near the top of the piece add some figure and character to the grain. Given the slightly narrow stance of the piece, it should be displayed on a sturdy surface away from potential bumps, as it could topple over if the surface is unstable and wobbly. That said, it is completely stable if undisturbed. The yellow cedar is polished and waxed. It is signed with the year on the bottom using a pyrography tool.
One evening, soon after its completion, I caught a glimpse of Permeable Existence No.4 (viewable in same shop) on the shelf in the dark hallway. I could barely make out the contour of the form. My mind however filled in the blanks and I got an image of a different form. That form was "Slipping Through The Fissures of Time No.1" as seen here. The title came to mind soon after drawing down the form that I half saw, half imagined. I was also thinking of refering to it as a "derivative" of the former but thought that was too boring and technical sounding. However, it is a derivative—the first one of this kind. There was a bowl that was developed in a similar way, but it was derived from a grouping of objects on the ground in the dark hallway rather than an existing sculpture. This current piece is made from 3 pieces of yellow cedar trued and laminated. Amidst the sharp grain contrast there are a few traces of bluing in the wood including a very small dark spot at the front-bottom-center. This is a natural colouration, not a defect in workmanship. The other faint blue patterning near the top of the piece add some figure and character to the grain. Given the slightly narrow stance of the piece, it should be displayed on a sturdy surface away from potential bumps, as it could topple over if the surface is unstable and wobbly. That said, it is completely stable if undisturbed. The yellow cedar is polished and waxed. It is signed with the year on the bottom using a pyrography tool.
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Abstract Wood Sculpture - Slipping Through The Fissures Of Time No.1 - 2020 - Yellow Cedar, Wax Sculpture

Mike Sasaki

Canada

Sculpture, Wood on Wood

Size: 6.8 W x 7.8 H x 5.5 D in

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SOLD
Originally listed for $790
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72 Views
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About The Artwork

One evening, soon after its completion, I caught a glimpse of Permeable Existence No.4 (viewable in same shop) on the shelf in the dark hallway. I could barely make out the contour of the form. My mind however filled in the blanks and I got an image of a different form. That form was "Slipping Through The Fissures of Time No.1" as seen here. The title came to mind soon after drawing down the form that I half saw, half imagined. I was also thinking of refering to it as a "derivative" of the former but thought that was too boring and technical sounding. However, it is a derivative—the first one of this kind. There was a bowl that was developed in a similar way, but it was derived from a grouping of objects on the ground in the dark hallway rather than an existing sculpture. This current piece is made from 3 pieces of yellow cedar trued and laminated. Amidst the sharp grain contrast there are a few traces of bluing in the wood including a very small dark spot at the front-bottom-center. This is a natural colouration, not a defect in workmanship. The other faint blue patterning near the top of the piece add some figure and character to the grain. Given the slightly narrow stance of the piece, it should be displayed on a sturdy surface away from potential bumps, as it could topple over if the surface is unstable and wobbly. That said, it is completely stable if undisturbed. The yellow cedar is polished and waxed. It is signed with the year on the bottom using a pyrography tool.

Details & Dimensions

Sculpture:Wood on Wood

Original:One-of-a-kind Artwork

Size:6.8 W x 7.8 H x 5.5 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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