Changes in molding seen from Toshio Yodoi's "Europe on the shore"

Abstract

This paper focuses on the works of "Europe on the shore" by Toshio Yodoi (1911-2005), which were produced from 1961 to 1994. It discusses how the view developed into the subsequent works.

"Europe on the shore" are a series of works created since 1955, when Yodoi begun direct plastering. I thought that a discussion of these from of works could be elucidate how it affected Yodoi's view of form afterwards.

"Europe on the shore" created over many years, gradually adds to the composition of the height of the feet that Europe bounces up, and the width of the bull that makes him lean. The use of these vertically extending spaces and the expression of depth created by overlapping motifs have often appeared in subsequent sculpture works by Yodoi. By these things, it is clear that Yodoi deepen his sense of modeling in the composition of his work during the production of "Europe on the shore ".

Furthermore, from the consideration of the "Europe on the shore " series, it is clear that the use of the same motif is not just a rehash, but a rigorous approach to Yodoi's production. Through the repetitive act of creation, Yodoi took time to observe the motifs in his own mind, deepening the images, weaving his own emotional sympathy into them, and sublimating them into forms. I surmised that Yodoi's love of nature and the presence of deep introspection in the artist's mind led to the expression of a magnificent dynamism in his works, which he has always worked with rigorously.