Sculpture is on permanent display in Fumio Asakura Memorial Park, Oita, JAPAN.
Open Competition July, 2001 – construction completed June, 2002
below is a write-up for first round competition proposal, July 2001:
The 6th Oita Asian Sculpture Exhibition 2001 Open Competition
The Fumio Asakura Memorial Park
‘A Tale of Two Boundaries’
Submission by Abdul Multhalib Musa
Malaysia Contestant
PREFACE
It is with great honor that I am able to represent my country as a contestant in this highly recognized competition, the 6th Oita Asian Sculpture Exhibition. Indeed Japan has been one of the leading advocates in helping to promote the standard of sculpture for the Asian region, as well as the international level.
Personally, Japanese art and tradition has been a pursuit of interest, and a major inspiration for my entry in this competition. Malaysia, rich in cultural and natural heritage, has further contributed to the final composition that attempts to manifest itself in this cross-cultural understanding.
Therefore, it is with humble gratitude and privilege that I am able to exhibit my work among other great Asian artists and sculptors entitled ‘A Tale of Opposing Boundaries’.
INTRODUCTION
With the encroachment of globalization, we are in danger of losing sight some of the fundamental values that we uphold dearly, which has helped to function and shape the people that we are today. In an attempt to address the contemporary problems at hand, answers to our questions are becoming both clear and ambiguous at the same time.
Notions related to binary oppositions are significant in determining the value system in any culture or society, for only then can we tell the difference between what is right and what is wrong, what is truth and what is false. However, such resolutions exist only if there is a boundary to distinguish the two domains. It is the notion of such boundary by which the basis of the work is to be accentuated and justified… but then again, even the boundary itself at times can be as clear as the blue sky, or as vague as a hazy day.
'A Tale of Two Boundaries' is therefore a work that compromises the concept of mutual binary oppositions prevalent in today's society, particularly to the Asian people of this region.
CONTENT
The work can be read at many levels to gain an insight and understanding that underscores the framework of its composition. At a glance, the sculpture can be perceived as having two dominant facades by which the viewers can engage themselves visually. At a superficial level, these facades are similar in terms of structure and form.
An apparent intervention however is the inclusion of a curved line that is produced by manipulating the curvature of each plane. Thereby breaking up the continuous flow of the movement created by the undulating surface and hence, a boundary of sort is created between the lower and the upper portion of each facade. Upon closer observation, the implied boundary is different on either side, where one is a boundary that physically exists… and the other, a boundary that exists because of negative space. The reading of the work at a subconscious level reveals even more intriguing conception to be explored. For instance, the fenestration through the wall can be seen as a gesture towards achieving a notion of boundary that is more complex, but is necessitated by virtues of visual control of the sculpture.
As the suggested boundary line is placed at eye level of the visitor, specific viewing pleasure can only be achieved if the viewer moves from one vantage point to another. This forced gesture by the sculpture is a self-imposed regulation that suggests a notion of boundary that is compelling in determining the demarcation spaces that it separates.
Accordingly, the implied form of the boundary is now extended beyond the actual work of the sculpture itself, redefining the space within the landscape that it occupies. In this occurrence for example, the dual domain can be read as a binary opposition between man and nature. The surrounding landscape being the elements of nature beyond the physical manifestation of the sculpture, juxtaposed against man, which is represented by the viewer themselves. Standing between these two domains, is the sculpture.
Another example of how the work can be read is by considering the orientation of the work. The sculpture is proposed to be built on a north-south axis orientation, thereby placing each façade towards the east and west. Apart from practical purposed which is to maximize the interplay of light and shadow through its vertical slit and openings, the theoretical framework suggests a more discernible relationship between east and west, another notion of binary opposition.
As each façade can be portrayed as representing eastern and western values, it raises the issue of whether or not the two opposing realms should be fully embraced, or to be left as separate entity. Again, the boundary here plays an important role in addressing this dilemma, that perhaps a boundary that is more flexible be established, which can be suggested by the openings through the louvers. These are only a few possible points of departure of how the work can be read and interpreted. As in any sculptural work, it is the viewer that eventually understands the value of the work, and personifies the meaning that it embodies.
CONCLUSION
The very notion of boundary is indeed a difficult variable in order to determine between what is black and what is white. Needless to say, an attempt to depict such a vague intention through public art is by no means a simple task. The physical conception is an awareness that is usually neglected when it comes to focusing on current issues that are essentially unique to the Asian people, and to the greater humanity in general. Therefore, the strength of the work lies not in what is apparent and obvious but rather, it harbors in our understanding and belief that an ideology must come to an end, in order for another to begin. ‘A Tale of Two Opposing Boundaries’ seeks to determine both an end, and a beginning.
