NEW 007

001
KINOSHITA Kazuyo,1939 - 1994

Pa-C '80-115

1980

pastel on paper

96.5 × 62.7 cm

signed and dated; signed, titled and dated on the verso

framed

ESTIMATE :
$1,100 - $1,800
CONDITION

Good condition.
Signed and dated on the lower right.
Signed, titled, and dated on the lower left of the verso.
There are multiple wrinkles overall.

DESCRIPTION

Kazuyo Kinoshita (1939–1994), an artist born in Kobe and based in the Kansai region, was primarily known for her dedication to the theme of "exploration" through mediums such as painting and photography. In 1958, she enrolled at the Kyoto City University of Arts, and her career began in the 1960s when she participated in the avant-garde art group "Group <I>," alongside Tatsuo Kawaguchi and Yoshimi Okuda. Group <I> was deeply concerned with philosophical questions about the nature of existence, and the profound question of "What is existence?" became a central theme in Kinoshita's work. In the 1970s, she produced numerous works exploring the relationship between image, perception, and material using photography. In the 1980s, while maintaining the same philosophical core, her focus shifted toward abstraction, driven by a heightened interest in bodily sensibility. In 1990, Kinoshita was diagnosed with cancer, and despite her illness, she continued to create art, producing over 1,200 works throughout her lifetime until her untimely death at the age of 55 in 1994. Her relentless creativity and spirit of inquiry left a lasting impact on contemporary art, still felt today.

The present work, a pastel drawing created in 1980, offers insight into the transitional phase before Kinoshita's significant shift towards abstract painting in 1982. The drawing features alternating lines, both linear and blurred, rendered in pastel shades of light brown and yellow. This dual structure shares similarities with her 1970s series "Boundary Thinking,” which depicted segmented forms, and the "Saturation” series, which combined straight lines with soft, blurred edges. By creating a visual and perceptual dissonance, Kinoshita invites viewers to reflect on the very act of “gazing.”

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