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SUDA Yoshihiro
Clematis - Clematis Henryi - 2017. 5 ½ x 7 ⅖ x 8. Painted Magnolia wood
Morning Glory - Convolvulus Arvensis - 2017. 3 ½ x 7 x 5 ½ in. Painted Magnolia wood
Leaf - Prunus avium - 2017, ⅔ x 4 ⅔  x 2 in. Painted Magnolia wood
Tade - Polygonum persicaria - 2017. 8 x 4 x 3 ⅔ in. Painted Magnolia wood
Balloon Flower - Platycodon Grandiflorus - 2017. 5 ⅗ x 4 ⅓ x 3 in. Painted Magnolia wood
Weeds, 2017. 1 x 8 ⅖ x 6 ⅓. Painted Magnolia wood
Narcissus  - Narcissus Tazetta “Geranium” -  2017. 12 1/2 x 3 x 3 1/2. Painted magnolia wood
SUDA Yoshihiro
2/11/2017 - 13/01/2018
Galería Elvira González is pleased to announce its second solo exhibition by the Japanese sculptor, Suda Yoshihiro (Yamanashi, Japan. 1969)

Suda is characterised by creating sculptures in small format of plants and flowers in Magnolia tree wood, also known in Japan as hoonoki. The magnolia wood, says the artist, has had a singular evolution that makes it special for his work: “The magnolia evolved into its current shape about one hundred million years ago, and essentially, it has not changed since. I like the sense of history that emanates from this wood.”

The work of the Japanese sculptor, besides of being of a precise and outstanding detail, becomes alive with natural pigments and by being installed by the artist in unexpected places. In some occasions, the observer has even mistaken Suda’s work by carelessness in galleries and museums installations.

The interest of carving plants is developed by the artist when student at University in the 90’s: “I moved to Tokyo when I was eighteen to attend Tama Art University,” he explains in an interview. “When I was living in the countryside, I had no interest in nature, but after I moved to the city, I suddenly developed an interest in it”.

His time at university meant for Suda learning of traditional Japanese art influencing him with high discipline and attention to detail. Even more, it helped him to define his goals as an artist; when he finished his studies, the sculptor had it very clear that his professional journey would take him to create art in small scale.

"I can’t make anything big! In terms of the scale of art, I think there are artists who are naturally able to make large scale works—a number of American artists, in fact. I am simply different from them. When I was in school, I did many drawings and carvings of things other than plants and flowers, but I always felt most comfortable with plants and flowers. I keep making my nature-motif sculptures because I am not yet tired of them”.

The first solo exhibition by Suda was inside a rented truck parked in a street on the neighbourhood of Giza in Tokio, Ginza Weed Theory, 1993. After that, his work became acknowledged and exhibited in Japan and the rest of the world. Suda Yoshihiro since then, has focused his time and energy in mastering his abilities as a sculptor to project calm, patience and concentration to the spectator through his work:

“Recently, I have been feeling that the pace of life is too fast. New devices and technologies are introduced one after another, but we humans cannot necessarily evolve at the same fast pace. For anything that demands technique, like art, you have to spend time to gradually develop your skill".

The Japanese artist, as many other artists, thinks of his art as the link between himself and the public. Projecting this intention on his work, Suda, awakes a reflection about what’s beyond, other of what can be seen at first sight in his sculptures.

“I carve small things, but even those small and often overlooked things have the potential to change our way of seeing a space,” declares. “I think art can change our perspective and ways of thinking. It encourages us to see things that we otherwise might miss.”