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Lot Essay
"S" SERIES:
Tension between similarities and difference
From his earliest exhibition in Paris in the 1950s, Kumi Sugai was recognised as one of the major artists of his generation. He was
born in Hyogo in 1919 and grew up in Osaka. After studying at Osaka School of Fine Arts for oil painting in mid-1930s, he later studied nihonga (traditional Japanese-style painting) under Teii Nakamura (1900-1982). To pursue his artistic career, Sugai moved to Paris in 1952. His talent was soon discovered by dealer and gallerist, sealing his first solo exhibition in 1954 at Galerie Craven.
Similar to Zao Wou-Ki whose print-making experience influenced his early oil painting, Sugai started to practice lithograph in 1955,
providing him an opportunity to understand flat surface. However, it is until 1962 Sugai's style transformed from the use of concrete
images formed by calligraphic brushstroke with emphasis on texture to flat, geometric forms with the appearance of signs.
The trip in Germany in 1960 is the catalyst of this stylistic change. Sugai once revealed that his thinking was influenced a great deal by this contact with the custom of Germany and the rational temperament of the people. The "cold rationalism" experienced by Sugai changed his view of artistic principle – from perceiving art as the extension of personal emotion to art as a connection point to society and human life. The body of Sugai's work is then constructed with severe straight lines and curves, characterised by complete objectivity.
Depiction of Speed
Painted in 1988, Mars (Lot 467) is the early creation of Sugai's most famous and iconic "S" series. In 1987-1991, the artist produced
work with stylised 'S' characters. "S" was the initial of Sugai and to him also symbolised the curves of motorway highly related to Sugai's lifelong interests of sports car and driving to experience speed. Double "S" shapes arrogantly dominates the square canvas
which is a balanced composition yet overwhelming and powerful presence. The precise and hard-edged form of green "S" is contrasted with irregular red and blue impasto forming another "S". Tense relationship of similarities and differences among the double
"S" creates a visual rhythm. The use of strong contrasting colours as well as the colour gradation on the green "S" can be referenced to the printing effect and graphic design on ukiyo-e (Japanese woodblock print) (fig. 1) in Edo period. As art-critic Mandiargues
commented, "Sugai, to his own and to our delight, brings Japanese art to a state of violent purity close to surrealism and not dissimilar
to Der Blone Reiter removing its old-fashioned clothes". "S" series is the representative part of Sugai's oeuvre, the culmination of his
previous techniques and symbolic use of signs.
Tension between similarities and difference
From his earliest exhibition in Paris in the 1950s, Kumi Sugai was recognised as one of the major artists of his generation. He was
born in Hyogo in 1919 and grew up in Osaka. After studying at Osaka School of Fine Arts for oil painting in mid-1930s, he later studied nihonga (traditional Japanese-style painting) under Teii Nakamura (1900-1982). To pursue his artistic career, Sugai moved to Paris in 1952. His talent was soon discovered by dealer and gallerist, sealing his first solo exhibition in 1954 at Galerie Craven.
Similar to Zao Wou-Ki whose print-making experience influenced his early oil painting, Sugai started to practice lithograph in 1955,
providing him an opportunity to understand flat surface. However, it is until 1962 Sugai's style transformed from the use of concrete
images formed by calligraphic brushstroke with emphasis on texture to flat, geometric forms with the appearance of signs.
The trip in Germany in 1960 is the catalyst of this stylistic change. Sugai once revealed that his thinking was influenced a great deal by this contact with the custom of Germany and the rational temperament of the people. The "cold rationalism" experienced by Sugai changed his view of artistic principle – from perceiving art as the extension of personal emotion to art as a connection point to society and human life. The body of Sugai's work is then constructed with severe straight lines and curves, characterised by complete objectivity.
Depiction of Speed
Painted in 1988, Mars (Lot 467) is the early creation of Sugai's most famous and iconic "S" series. In 1987-1991, the artist produced
work with stylised 'S' characters. "S" was the initial of Sugai and to him also symbolised the curves of motorway highly related to Sugai's lifelong interests of sports car and driving to experience speed. Double "S" shapes arrogantly dominates the square canvas
which is a balanced composition yet overwhelming and powerful presence. The precise and hard-edged form of green "S" is contrasted with irregular red and blue impasto forming another "S". Tense relationship of similarities and differences among the double
"S" creates a visual rhythm. The use of strong contrasting colours as well as the colour gradation on the green "S" can be referenced to the printing effect and graphic design on ukiyo-e (Japanese woodblock print) (fig. 1) in Edo period. As art-critic Mandiargues
commented, "Sugai, to his own and to our delight, brings Japanese art to a state of violent purity close to surrealism and not dissimilar
to Der Blone Reiter removing its old-fashioned clothes". "S" series is the representative part of Sugai's oeuvre, the culmination of his
previous techniques and symbolic use of signs.