552hs STRUCTURAL VOLUME VI walnut and akebia 19" x 12" x 8" 48cm x 30.5cm x 20cm, 2009  $4,000

 

545hs FUNCTION OF TWINE walnut bark, Large: 8.25" x 12.5" x 6.25", Small: 8.25" x 9" x 6.25", 2009, $3,400

 

480hs BE AWAY TO BE edgeworthia bark 13.75” x 15.75 x 6.25, 2003 $2,700

Statement: I define a basket as an object, often a vessel shape, created in a textile structure where the dynamics of each component are visible. My expanded definition includes anything implying a relationship to basketry in its technical, aesthetic or functional terms. To me, that vocabulary includes: lines bent, looped, passed under, over, crossed. Resilience. Flexibility. Self-supporting, standing, rigid. Planes folded, bent, layered to obtain volume. Drawing lines in space. Filling space. Eliminating material to form space into parts. Accumulating spaces into a large whole. Enclosing, containing. Shifting dimensions. Repetition: rhythm, texture, pattern. Order, disorder. Joining, connecting, binding. Disassembling, screening, enhancing. Curiosity: package, trapping or wrapping space. Sphere: bind around, bundle. Handle: carrying. Hanging: pressed, weighing, balancing. Cutting, peeling, piecing. Breaking, unweaving, making holes. I am preoccupied with space, textuality, structural surface and architectural quality. I think a form reveals richer aspects when it is viewed not only in terms of the real materials such as sticks or bark, but in terms of space or holes in which real material is not present. The matter of basket structure might seem to deal only with material or technical domain which is not relevant to me. But I now know that structural interplay of the material’s property and constructing method works creatively only when I personally become conscious of its nature, merits and limits. It is dependent on how I see and think. The finished object reveals clearly how I have changed from what I was before I made the piece. I call myself a basketmaker because I inform my work by thinking and processing the nature and history of basketry. And also, because in order to realize the ideas, I choose to use materials and structural methods that have typically been used for basketmaking. It pleases me that my ideas and the final results of my work expand the boundary well beyond what I once thought of as the domain of basketry.                                                                                                                   Hisako Sekijima

334hs STRUCTURAL DISCUSSION IV 335hs STRUCTURAL DISCUSSION V cedar, plaited and woven, 17.5” x 17.5”, 1997, $3800 each

Catalog #8 HISAKO SEKIJIMA click for more information	Catalog #17 10TH WAVE PART 1: New Baskets and Freestanding Sculpture click for more information	Catalog #18 10TH WAVE PART II: New Textiles and Fiber Wall Art click for more information	Catalog #19 Glen Kaufman Hisako Sekijima click for more information
Catalog #30 Japan Under the Influence: Innovative basketmakers deconstruct Japanese tradition click for more information	Catalog #34 10TH WAVE III: Art Textileand Fiber Sculpture click for more information

To purchase the artwork of Hisako Sekijima
or to obtain information about other available works, contact:

Tom Grotta
browngrotta arts



or telephone
tel: 203-834-0623 or fax: 203-762-5981
www.browngrotta.com