Two Naomi Shioya Art Glass Sculptures, Japan, c. 2005, cast glass, Wise Person , and a three-piece sculpture with interlocking pieces encasing a frosted glass moon, signed, ht. 21 1/2, 6, wd. 4 1/2, 12 3/4, dp. 2 3/4, 2 1/2 in. Note: Naomi Shioya expresses her own individual sentiments and intangible emotions in poetry, then transforms the resulting images which spring to mind into glass forms. The spirit of the lyric poet which dwells within her is the main driving force behind her work… The moon and doors make frequent appearances in her world of imagery… The moon, too, has kindled the dreams of mankind through its use in myth, legend and literature since ancient times… The thread of imagery allows viewers to spin their own stories at will. These stories are likely to differ from person to person, but are likely to share elements of tranquility, vague sadness and longing. The extent to which this world of imagery can be established depends on the formative powers of Shioya, who simplifies the forms of her motifs and pursues concise compositions through the use of plane surfaces. Adapted from an essay by Yoriko Mizuta, Curator, Hokkaido Museum of Modern Art, Outspoken Glass catalog, 2003.
Two Naomi Shioya Art Glass Sculptures, Japan, c. 2005, cast glass, Wise Person , and a three-piece sculpture with interlocking pieces encasing a frosted glass moon, signed, ht. 21 1/2, 6, wd. 4 1/2, 12 3/4, dp. 2 3/4, 2 1/2 in. Note: Naomi Shioya expresses her own individual sentiments and intangible emotions in poetry, then transforms the resulting images which spring to mind into glass forms. The spirit of the lyric poet which dwells within her is the main driving force behind her work… The moon and doors make frequent appearances in her world of imagery… The moon, too, has kindled the dreams of mankind through its use in myth, legend and literature since ancient times… The thread of imagery allows viewers to spin their own stories at will. These stories are likely to differ from person to person, but are likely to share elements of tranquility, vague sadness and longing. The extent to which this world of imagery can be established depends on the formative powers of Shioya, who simplifies the forms of her motifs and pursues concise compositions through the use of plane surfaces. Adapted from an essay by Yoriko Mizuta, Curator, Hokkaido Museum of Modern Art, Outspoken Glass catalog, 2003.
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