Oil on canvas

130.3 × 194 cm. 51 1/4 × 76 3/8 in.

Signed with the artist's name in English and Kanji and dated on the reverse
PROVENANCE
SCAI the Bathhouse, Tokyo
Acquired directly by present important private Asian collector from the above

Note: A label of Tokyo SCAI the Bathhouse is affixed on the reverse

The Realm of Gods and Mortals
The Rare and Remarkable Early Large-scale Representative Work of Izumi Kato

“My existence is a constant venture.”
——Izumi Kato

Izumi Kato, an up-rising contemporary Japanese artist, was born in 1969 in Shimane prefecture. Despite aspiring to be a football player and a rock musician, he unexpectedly gained admission to the Oil Painting Department of Musashino Art University. After graduating in 1992, during Japan's economic crisis, he even worked as a construction worker for several years. It wasn't until he turned 30 that he finally followed his true calling in art, stating, “I knew it was a risk, but I also felt that failure was inconsequential. If I hadn't made that decision at the time, I probably wouldn't have survived. I wanted to establish a connection with the environment and society through painting.” In the year 2000, his original creations of “otherworldly creatures” gained public attention and widespread acclaim. In 2007, he was invited by American curator Robert Storr to the Venice Biennale, marking a new era in his artistic career. Subsequently, he collaborated with international galleries such as Perrotin and Stephen Friedman Gallery, constantly pushing the boundaries of new media, and held solo exhibitions in renowned art museums worldwide. His works are held in numerous esteemed institutions, including the Centre Pompidou in France, the National Museum of Modern Art in Tokyo, the 21st Century Museum of Contemporary Art in Kanazawa, the Tai Kwun Contemporary in Hong Kong, the Red Brick Art Museum in Beijing, and the Long Museum in Shanghai.

Enchanting Spirits: Myth and Nature

“In my homeland, Shintoism, Buddhism, and animism intertwine. Influenced by my upbringing, everything there possesses its own life. I am aware that the figures I paint are not specific individuals; rather, they are depicted in human form. It could be you, or it could be me. I do not know who it is, using an anonymous individual like this. What captivates my attention is not the individual, but the essence of existence itself.”
——Izumi Kato

Izumi Kato's hometown, renowned as “Izumo Province,” is the birthplace of ancient Japanese culture and myths. In the ancient Japanese term divine was explained as “Kami” – divine beings encompassing all living creatures, be they malevolent or benevolent. Growing up, Kato listened to fantastical tales passed down through oral tradition, which influenced both his artistic creations and his cosmic perspective, establishing his unique position within Japan's post-war art scene dominated by cartoon culture. His creative philosophy aligns with Lao Tzu's Tao Te Ching, which states, “The Tao gives birth to the One, One gives birth to Two, Two gives birth to Three, and Three gives birth to the Ten Things.” His depictions of totemic extraterrestrial beings, cord-patterned Neolithic pottery, Sanxingdui figures, and indigenous African tribes easily evoke associations with embryos, plants, insects, and more. The unity of humans and divinity radiates a transcendent serenity, imbued with spirituality and childlike innocence. Created in 2004, the Untitled stands as one of the few large-scale early masterpieces by the artist, ranking as the second-largest piece in auction history from 1990 to 2004. Its release at this time is truly a rare opportunity.

Returning to the Essence of All Things

Kato believes that naming his artworks would limit the viewers' thinking. Therefore, he intentionally refrains from giving titles to his works. If we were to liken Kato's artistic journey to a book, his early works are reminiscent of the enigmatic symbol of the hat in Antoine de Saint-Exupéry's The Little Prince. Untitled depicts three stages of human growth during childhood. The three main characters in the painting are delicately enveloped by a transparent film, with undulating contours that resemble the inside of a “snake swallowing an elephant,” as if intentionally redrawn by adults who misunderstood the Little Prince. By referencing this allusion, Kato visualizes the memories of human infancy from a child's perspective. The artwork features a background in sand white, with the figures predominantly in black, adorned with accents of red and green, representing the three stages of life's evolution. Among them, the elongated figure on the far left, with limbs extended, resembles an embryo in the early stages of cell division. Complementary green cells and red blood vessels, connected by the umbilical cord to the maternal body, strive to evolve and take shape. Shifting the gaze to the right, a new-born baby cries out as it descends to the ground. Kato highlights the eyes with a bright white, capturing the first glimmer upon encountering the world. The darkly painted body alludes to the hazy memories of chaotic beginnings. In the centre of the composition, a reclining giant baby with raised legs gradually sheds the dissipating film that covers it. This signifies the baby breaking free from swaddling clothes, learning to roll over, and gradually gaining autonomy. The round red cheeks and the crescent-shaped white earlobe accentuate its vitality. As the gaze traverses the painting, a child standing still suddenly emerges in the distance, as if the artist himself or a transcendent and conscious third party is observing the journey of this life before them.

After regaining painting, Kato has once again grasped the essence of the divine role. It not only provides solace but also encapsulates the awe-inspiring omnipotence of the natural world. It serves as a constant reminder for humanity to harbour a perpetual sense of humility. Moreover, this piece articulates his cosmology. The enigmatic and profoundly penetrating ambiance of these works leaves an indelible impression on the viewer. Thus, this period of artistic creation serves as a poignant portrayal, guiding Kato's enduring journey of artistic exploration.

Price estimate:
HKD 800,000 – 1,500,000
USD 102,600 – 192,300