Akio Makigawa
by Jackie Cooper et al
Published by Carlier Makigawa and distributed by Macmillan Art Publishing
$175 rrp

Akio Makigawa was one of Australia's major sculptors. Born in Japan in 1948, Makigawa came to Perth in 1974. He died in Melbourne in 1999. His work can be seen in the National Gallery of Australia, state galleries in New South Wales, Queensland, Victoria and Western Australia, and many regional, institutional, corporate and private collections in Australia and overseas. His public art commissions are striking additions to the cityscapes of Melbourne, Adelaide, Sydney and Brisbane.

His exhibition record is formidable and he has exhibited in Canberra on at least two occasions. In 1983 the (then) Canberra School of Art Gallery exhibited Akio Makigawa: Installations 1979-1983, which was curated by myself and remains a highlight of my professional life. It is serendipitous that this definitive book on the artist should have its launch in Canberra this year. The exhibition at the School of Art ran from 8 to 30 October.

Makigawa was a charismatic man whose dedication to his art was a pleasure to witness and a privilege to share, and the book is a worthy tribute. It's the result of the efforts of many committed friends and associates of the artist.

Chief among these is his widow, renowned jewellery maker Carlier Makigawa, who is also the publisher. The artist himself played a major role not only in the genesis of the book but also in its final look, expertly designed by Garry Emery with the assistance of Jane Mooney.

The book as a sculptural object containing the concepts not only of the artist but also of those around him was germinating within Makigawa some 21 years before its appearance. He writes in Preface 1: "I don't want to record my life story in this book … It's about the work: there is a story to tell about each piece. This book should talk about the processes of making and the processes of developing ideas. It should present a way of thinking."

Written in October 1993, the preface also suggests the importance of the input of others.

"It's [the book] like a marker. It's a statement. In producing this book, I can better understand myself and also make a different kind of object – a book – but using the same methods as making a sculpture. It's the same sort of operation as an art work – using other people to put my ideas together. You have to trust others to collaborate in producing an art work and also in making a book like this."

It is a handsome and heavy production, at 565 pages. The covers are squares of grey board with a black bound spine; a simple "M" adorns  the front. The monumentality of sculpture has been translated by the designer into a more intimate scale but the book is monumental, too.

Inside, the use of red, maroon, bronze, black and buff is both visually and thematically effective. Each section describes in detail individual works, working methods, installations and everything relevant to the artist's work and life. John Gollings, in charge of the photographic archive, has achieved wonderful clarity and depth and his contribution is a major reason for the book's success.

The range of contributors includes Edmund Capon (former director of the Art Gallery of New South Wales), architectural editors Haig Beck and Jackie Cooper (who provide the majority of the text) and art historian Bruce Adams, whose essay Marking the journey: The art of Akio Makigawa is an important addition to the (relatively) scant literature on the artist. I found the "discussions" with Makigawa, Beck and Cooper intensely personal, instructive and moving.

Titled "Meditations", topics include "On growing up", "On sculpture", "On symbols", "On formalism", "On limits", and provide profound insights into the artist's philosophy and art, all in his own words.

Garry Emery's design is authoritative; a sophisticated acknowledgement and celebration of Makigawa's art (and long-term friendship) as well as asserting Emery's personal visual style.

Akio Makigawa is a loving tribute to the artist and a significant contribution to the history of sculpture in Australia. Everyone involved in this splendid tome is to be congratulated.