Moto Waganari’s sculptures emerge from virtual space at the intersection of art, architecture and science. Within the interplay of their inherent lighting conditions—both natural and artificial—they once again generate new images as material manifestations and polymer images of their original digital archetypes.
To attempt to place Moto Waganari’s work within the familiar coordinate grid would mean to negate the work’s contradictoriness and to ruin the polymorphic magic radiating from it, something which is also inherent in the creative process. Born in a virtual wonderland and shaped from the binary clay of bits and bytes, Waganari transforms his digital golems into analogue and polygon grid creatures by way of an intricate technical process.
The sculpture itself becomes space, within which light is reflected and—along the lines of a labyrinthine net structure—gives birth to new forms and images. Where does sculpture end, and where does space begin?
Far Eastern minimalism harmonises with the iconographically-charged figurativeness and expressive strength of the old European masters in Moto Waganari’s art. These are sculptures whose visual dynamic playfully adapts the fluent elegance of samurai depictions and—at the same time— quotes the rugged physicality typically associated with classical busts. Multiple semantic levels emerge within and from space. It is here where true 21st century art emerges: where reputed contradictions and feigned incongruities—between tradition and modernism, process and result, artificiality and authenticity, prototype and copy, virtual and real—are not perceived as antagonistic, but as creative and within the realm of possibilities of the 21st century. This is the art of Moto Waganari.
