Au bord du printemps

Doucet & Saito
Au bord du printemps   1992
Collection of Norman and Patterson Webster

Three sculpted forms assembled vertically on a base suggest a spritely bird signalling the return of spring.  As Tadayasu Sakai wrote in his essay on Doucet Saito’s work, “A Great Vision, and…” (1992), the forms simultaneously evoke “a sense of stability within an apparent unstable form.” The tension in this relationship mirrors an opposition inherent in nature between productive and destructive forces, an ambiguity balanced through purity of form. This sculpture was exhibited in 1992 at the Contemporary Sculpture Centre in Tokyo.