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The first picture that comes to one’s mind when he/she comes in contact with the Odani Motohiko SP2 New Born is a picture of a sea-horse. To some people, the actual message sent by this piece of art is quite unclear. This has made led to some criticism arguing that Odani Motohiko has answers “hanging in the air”.
It is quite challenging to determine the kind of material used to create this piece of work. This may require an analysis that entails engaging in a physical contact with the art. However, generalized arguments may conclude that it is made from plastic materials or even refined clay soil. Many questions may be elicited when one comes in contact with this piece of work i.e. questions revolving around time, human facets fear et cetera. The artist claims that this piece of work creates a sense of futuristic feeling among viewers. The art also brings a sense of movement, uniqueness, dynamism, transformation as well as speed in the field of art.
Research has shown that the field of art and sculpture was almost “dying”, the essence of the sculpture seems to be regenerated by the Odani Motohiko. In this regard, it seems that the Odani Motohiko brings a fresh look in the history of culture through evolution of the manner by, which sculptures are created i.e. through modern technology, presentation and the kinds of sense they elicit.
It is also apparent that the art takes a dimension of modern piece of art work. To begin with, the materials used are contemporary i.e. steel, plastics et cetera. There is also a modern sense of presentation; it basically entails using modern mode of lighting, painting as well as storage. This may lead to a conclusion that this piece of art lacks historical continuity hence differentiating it from other pieces of ancient art work.
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Accordingly, she was born in Drezden, Eastern Germany, 1969. Graduated from the Academy of Visual Arts in Munich in the 1990s, she used to represent herself as a painter till the Infinity Award for Art from the International Center of Photography, 2005. Furthermore, her working methodologies, as they appeared in her works such as “The waiting girl,” 2006, “The rose garden,” 2001, “Study of a boy 1,” 2001, “At the window,” 2004, “Self-portrait,” 2000, and “The bride,” “Study of a boy 3,” “The wanderer,” “Study of a girl 2,” may be presented as a combination of painting, photo, and digital manipulation.
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