Signed, lower right, in black ink: DOMOTO 66.; Signed, on reverse of canvas, upper left, in ink: DOMOTO 1966
Opposing forces of yin and yang are always present in my work. --Hisao Domoto
Consider the strong contrast of this painting. The artist sets two planes in tension—the foreground and the background. How far can we take this clash metaphorically? Domoto self-associated with artist groups such as Gutai (Japan), L’Art Informel (France), and Abstract Expressionism (United States). As such, it is safe to assume that his interest in placing the mathematical order of the clean circles under the lushly applied brushstrokes in the foreground was meant to emphasize the realm of the heart above that of the head.
From the 2023 exhibition The Painter's Hand: U.S. Abstraction since 1950, curated by John Stomberg, Virginia Rice Kelsey 1961s Director
The Expanding Universe of Postwar Art, Northeast Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26-April 7, 2019.
The Painter's Hand: U.S. Abstraction since 1950, William B. Jaffe and Evelyn A. Jaffe-Hall Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, June 3-December 9, 2023.
John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 175, ill. plate no. 106.
Yufuku Gallery, Tokyo, Japan; sold to present collection, 2017.
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