The word pixcell was derived from two words; (Pixel) then (cell) .which is the fundamental building material for both digital and organic structures. A renowned sculptor Kohei Nawa of Japanese origin has worked with a unique synthetic glass substance known as Pixcell beads, from the year 2000, applying so as to express the difference between the outer part and interior, supposed and real. Thousands of clear crystal beads cover a one-time living animal, currently taxidermied deer, fitted with a packed and proud frame of horns.
Pixcell deer is a taxidermied deer which has completely been transformed by the artist using beads that are crystal clear, forming a new creature that totally deconstruct the previous form, shade and texture of the real taxidermied deer creating a new appearance . Whereas the crystals in different shapes appear to affect the exact interpretation of the theme .They work as a magnifying lens, maximizing shade and form appeal to the spectator with the normal elegance and balanced posture, the sophisticated, outstretching shape of its horns and its many lenses reflecting its own visions and luminous light.
This will remind the spectators that our surroundings which our intellects believes to be the truth is usually unclear and ambiguous .By using an extensive material of illusion, Kohei Nawa was able to expose the humanly need to embrace, treasure and own the uncertainty.
Pixcell deer is a three-dimensional sculpture. The viewer can observe this piece of work from all the direction. Furthermore, it’s freestanding. The sculpture has been position in such a manner so as it balances itself...
on the surface. There is no structure designed to support it. The stuffed deer has been used by the artist to create the internal form to which the resin and clear crystal has been applied to cover the entire outer surface. This procedure divides the sculpture skin into many cells, a variety of image materials and cells.
The artist used the real deer to represent the Japanese culture. The deer is considered sacred among the Japanese traditions. Prehistoric scripts called Shika Mandala employ deer as the principal animate creature of worship. In fact, many of the Japanese early arts were based on the deer, during Edo era artists at Rinpa School usually portrayed deer as a friend of early sages and also as beings with favorable or poetic connotations.
You may be astonished by the anchorite appearance that the self-supporting deer statue presents. It is placed, inside Metropolitan Art Museum, enclosed in olden Japanese shades that are covered in ordinary imagery. Pixcell Deer is a unique structure producing a calm, light silvery and warm, golden area appearance. Nonetheless, its magnetic fascination rapidly ceases the moment you realize what lays underneath its bubble enclosed coating.
A deer, one time alive, feeling and breathing, is now frozen, stuffed, and still. At a distance, the stag usually misleads onlookers into accepting that it is just a simple ordinary sculpture, a nonliving piece that was developed from zero into a sculpture. The realization that below the structure is, in fact, a preserved carcass will cause disturbance and repulse to the viewer.
Pixel designer, Mr. Nawa is part of a modern
group of artists that their efforts are aiding to bring an extra nuanced vision of Japan art and cultural beliefs abroad, one that goes above the racial stereotypes of people around the world. Mr. Nawa admits to having little interest in any genre. About two years ago, he took part in a group presentation at the Japan Society Gallery in New York. This was viewed to be a rebellion of Japan’s culture of cute.
According to Nawa, those periods are gone with time. (Definitely, there was a spell when artists profited from, stereotyping Japanese art in their work) he said. He further went on to stated that the current generation does not feel it’s necessary to associate with or attempt to represent, Japan in their work.
However, it is from Mr. Nawa’s combining of 3-D statues, traditional technique, and nearly industrial scale creation that he displays a view of what defines the modern Asia: an adoration of the latest technology, matching with a profound admiration for the potentials of manufacturing. Mr. Nawa worked for around three years to create (Manifold) a bulky thirteen meter and aluminum monstrosity of pipes and spheres of two hundred different parts .These parts were sliced, fused, cast and joined in workshops in Japan and other Asian countries like China.
While working on the (Cell) series Nawa confronted differences between reality and perception. By buying taxidermied creatures and several items (from emus to dice) over the internet, Nawa was then forced to merge what was obtained to be pixel- founded copy with the results of cell founded item. Traditionally in Japan deer’s were considered to be envoys for the gods according to Shinto beliefs. Nawa redesigned the early Kasuga Mandala to produce his own indication of trickery, which showed the movement from physical truth in favorer of pictures.
His concentration on the relationships between observation and actuality, or what could be seen to be an illusion, motivates threatening spirits. The outermost sheet of gears, the covering, is the utmost attractive part of the creation. However, it physically and plainly obstructs what lies underneath. A particular bead, same dimension as a psychic’s crystal ball, resides in the drop of the deer’s backbone.
Being the biggest, it is makes pairing it easy, but it has produced preposterous imageries from the inside. One’s own changing reflection blends with the distorted skin texture of the sculpture into a whirlpool of light and shade. The artificial crystal eyesight of the bloated animal are almost the same level as the human; a dark and intense glare hangs past the evolving symmetry divide. Reflections courses an observer to both views at the same time be viewed, but this frequently leads to overlooking the difference between what exists and what can be perceived.
Knowing that you are watching while being watched, forces you to reconsider the affiliation that was developing between these two pieces of art, the object and oneself. This creature that lived and matured then killed, bloated and vended, still an animal? Sure not. Currently this creature exists just as a picture pixels completed with light and shade formed by its fresh, manufactured skin. The living wildlife was