Pinocchio (Karimoku Version)

Medium: Wood
Year: 2018
Dimensions: 39x19x18 cm (15-1/2 x 7-1/2 x 7 inches)
Edition: 100
Artit’s Proofs: 20 AP
Produced by: MEDICOM TOY

 

 

Among KAWS’ most refined sculptural editions, Pinocchio (Karimoku Version) stands apart as a deliberate departure from the language of mass-produced vinyl into the territory of craftsmanship, material nobility, and design heritage. Produced in collaboration with the Japanese furniture manufacturer Karimoku, this edition translates one of KAWS’ most psychologically charged characters into a medium traditionally associated with permanence, tradition, and artisanal excellence. The figure depicts a reinterpreted Pinocchio, instantly recognizable through the elongated nose, here caught mid-extension. The character stands slightly hunched, both hands gripping the nose as if attempting to restrain its growth—a gesture that introduces tension, introspection, and a rare moment of vulnerability within KAWS’ sculptural universe.

The signature visual vocabulary remains intact: oversized gloved hands marked with the iconic “X,” rounded limbs, and a cartoon-derived silhouette. Yet the usual flat colors are replaced by the organic continuity of wood grain, which flows uninterrupted across the surface, subtly emphasizing the sculptural volumes and contours. The carving is precise yet intentionally soft, preserving the toy-like proportions while elevating the figure into something closer to a design object or even a contemporary totem.

Executed in carved and stained wood by Karimoku, one of Japan’s most respected woodworking houses, the edition reflects an exceptional level of craftsmanship. Each piece is meticulously fabricated, with visible grain patterns ensuring that no two works are strictly identical. This choice of material is critical. Wood introduces warmth, tactility, and a sense of time—qualities absent from industrial vinyl or cast resin. It also creates a conceptual echo: Pinocchio, originally a wooden puppet longing to become real, is here re-materialized in its “authentic” substance, yet remains frozen in a moment of deception. The edition of 100 reinforces exclusivity, positioning the work closer to collectible design than to traditional toy editions.

Produced in 2018, this work belongs to a broader moment in KAWS’ practice where he increasingly engages with material experimentation and limited, high-end editions. The collaboration with Karimoku is particularly significant, aligning the artist with Japan’s long-standing tradition of precision craftsmanship and elevating his practice beyond the realm of pop multiples. This period also reflects a shift in KAWS’ market positioning—from street-influenced and collectible culture toward institutional recognition and design crossovers.

Pinocchio, as a cultural figure, embodies themes of truth, transformation, and moral consequence. KAWS’ interpretation strips away narrative context and focuses instead on the psychological instant: the lie itself. The act of holding the nose is crucial. It suggests awareness—perhaps even regret—introducing an unusual layer of introspection for a character often perceived as playful or ironic. In this sense, the work aligns with KAWS’ broader exploration of emotional ambiguity, where cartoon figures become vessels for very human states: anxiety, denial, and self-consciousness. The use of wood deepens this reading. It reintroduces the origin of the character while simultaneously highlighting the artificiality of the situation. The figure is both “authentic” and fundamentally constructed—a quiet paradox.

The Karimoku editions occupy a distinct position within KAWS’ market. Produced in significantly smaller quantities and requiring far more complex fabrication than vinyl works, they are widely regarded as some of the most sophisticated objects in his editioned output. They appeal not only to contemporary art collectors but also to design collectors, reflecting a crossover market that has grown increasingly important in recent years. As KAWS’ institutional presence continues to expand, these works—bridging art, design, and craftsmanship—are likely to remain among the most sought-after editions from this period. More broadly, Pinocchio (Karimoku Version) encapsulates a key evolution in KAWS’ practice: the move from reproducibility toward material singularity, from object to artifact.

 

 

 

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Auction Results

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Heritage Auctions: 23 July 2024
USD 32,500

KAWS (b. 1974)
Pinocchio (Karimoku Version), 2017
Karimoku wood
Ed. 22/100
Stamped on underside of feet
Produced by Medicom Toy, OriginalFake, and Karimoku, Tokyo

SBI Art Auction: 24 May 2024
Estimated: JPY 4,000,000 – 7,000,000
JPY 5,750,000 / USD 36,635

KAWS
PINOCCHIO (Karimoku), 2017
Wood, multiple with original case
Signed and numbered on the bottom of left foot
From the edition of 100

Phillips Hong-Kong: 6 July 2023
Estimated: HKD 450,000 – 650,000
HKD 571,500 / USD 73,070

SBI Art Auction: 11 March 2023
Estimated: JPY 5,000,000 – 8,000,000
JPY 6,095,000 / USD 45,150

KAWS
PINOCCHIO (Karimoku), 2017
Wood, multiple with original case
Signed and numbered on the bottom of left foot
From the edition of 100

Phillips Hong-Kong: 23 September 2021
Estimated: HKD 500,000 – 700,000
HKD 630,000 / USD 80,765

Ravenel Taipei: 19 July 2020
Estimated: TWD 2,900,000 – 3,800,000
TWD 3,360,000 / USD 113,665

KAWS (Brian Donnelly) (American, 1974)
Pinocchio, 2017
Wood, edition no. 83/100
Signed on the bottom KAWS, and numbered 83/100
Trademark © Disney MEDICOM TOY 2017 Japan karimoku

Phillips New-York: 12 December 2019
Estimated: USD 25,000 – 35,000
USD 106,250

 

Phillips New-York: 24 September 2019
Estimated: USD 20,000 – 30,000
USD 118,750
AUCTION RECORD FOR PINOCCHIO (KARIMOKU VERSION)

KAWS
Pinocchio, 2017
Wood
Signed and numbered “KAWS..51/100” and stamped “© Disney” on the underside of the figure’s left foot
Further stamped with the date and fabricator “Medicom Toy 2017” on the underside of the figure’s right foot
This work is number 51 from an edition of 100