Year: 2022
Medium: silver nitrate, reclaimed charred redwood
Dimensions: 30.5 x 30.5 x 30.5cm (12 x 12 x 12 in.)
Acquired from MAKI Gallery, 2022
In Japan, cedar wood is commonly used in architecture, while in western Japan, a technique known as "yakisugi" (charring redwood) is sometimes used to improve its durability. The surface of the cedar wood plank is charred and carbonized. As carbon is a highly stable substance, retaining this charred surface gives the wood excellent weather resistance and slows the rate of deterioration over time. In 2019, Ando presented her work “Ryōanji” at an exhibition at the Asia Society Texas Center. It is a garden-like installation imitating the famous karesansui (dry landscape garden) at Ryōanji Temple. Works from the “Shou Sugi Ban” series were arranged in the installation to replace the stones. In this work, the upper section of the charred redwood block is painted by applying a silver mirror reaction using silver nitrate. The silvery upper section reflects a bright white light, while the charred wood below creates a deep shadow as though absorbing light. In a cube of only 30 cm on each side, the two parts with such a difference in light and shade coexist without discord or suggesting conflict. “Form is Emptiness, Emptiness is Form” is the title of the exhibition in 2019 mentioned above, which is the statement of the Heart Sutra. Form is no different from formlessness. It is a reference to the Zen spirit understanding in which form and emptiness are inseparable.
