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3, About the Four Special Works of Sato

  Three branches are developed from "The Token on Wilderness inside of Myself". They are the works as the comprehensive successor from the original piece "The Token on Wilderness inside of Myself", the non self-portraits and the self-portrait which are the partial successor. And three small branches occur respectively again from the non self-portraits and self-portraits.
   Sato's painting style did not collapse readily just because he held a firm sense of beauty. However, Sato's tendency for the symbolism tried to break his painting style. It is impossible to imagine that the painting style completely collapses. There are four works in the collection of his work that fought and tried to shake Sato's painting style which was as strong as a rock.

(1) "Frozen Port"

   The landscape of a land of Sato is limited to the object which belongs to the human world. The only thing that belongs to the pure nature is the ocean in Sato's paintings and these two never cross each other.
   This is a strict painting style of Sato. However, in this work, Sato tore the style, and the sea and land were drawn at the same time, and the aspect of the civilization of human beings was drawn with the ocean as a setting.
   The characteristics of this piece are the cape-like land which is protruded largely in the center and the building and wires which are a part of the poor port facilities at the tip of it. In front of the building, there is a bicycle trailer which looks like a waste. Then, to the left of the canvas, a dyke which is a product of the civilization is placed. It seems that this dyke denying a horizon. The protruded land strongly shows perpendicularity even if it does not cover the sea. Or it even looks like that a natural mountain is under the suppression and has been crushed.
   The peculiar part is where the tip of the center cape breaks through the horizon and the protuberance of the land in that is realistically painted. In Sato's paintings, a thing which is placed on the land breaks through the horizon only when the object is created from the civilized world, and it is limited to the relatively big symbol . This is clearly proved by the examples such as the tank of
"The Pillage by a Tank", the mountain of disused cars of "The Inheritance", and the mountain of skeletons of "The Neo-Pyramid Times".
   However, in this painting, the protuberance of the land and the shabby building at the port break through the horizon. A small portion of the sea is drawn in this painting. It hardly has a meaning and it is possible to think that it is only a part of the sky.

   If so, this painting becomes completely the same as the other landscape paintings of Sato, therefore, his painting style is faithfully kept. Since the horizon is erased the space is closed, and the degree of death decreases. Therefore, desolate scenery will not be needed.
   Also, another interpretation will be to think that this painting is drawn as an extension of the painting of the sea. The building and the dyke in that painting are like the waste and they can be considered as a mark that equals to non existence. And they even can be ignored.
  When viewed in this way, the cape at the center can be read as a huge wave. The dyke on the left, too, is one of the waves in the distant view. The protruding part of the tip of the cape is the crest of the wave. The snow that covers the cape can be seen as a splash from the wave and the bubble. When viewed in this way, this painting is faithfully keeping Sato's painting style of the sea.
   When digging into this painting a little deeper, it becomes a part of Sato's landscape painting or the ocean. There is ambivalence in the sea and the land in this painting. It resembles the painting of the trees which has the ambivalence of the self-portrait and the genre paintings, and
"The Conference after It" which has the ambivalence in terms of time. However, the ambivalence of this work is alternative.

                                                 ― Written, summarized and translated by Taketoshi Murayama ―                                                 ― Original translation is rewritten by Tomoko Daijo McLean ―

This text must not be translated into any other languages without author's permission.

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