My exhibition aims to explore abstract motifs and organic forms, as well as their unique presence in the small details of our daily surroundings through a range of 2D and 3D mediums. A majority of my subjects are common objects that can be found in our everyday lives or in nature, such as an orange, dynamic land erosion, wine glasses, or reflections of clouds on a river. The main focus is to capture the extraordinary complexity that mundane objects have if looked into closely. Another key concept of my exhibition is contrast and duality, which can either be interpreted from the few works that are composed of two complementing parts, or from the use of colors, forms, and subjects that contrast one another.
The first turning point in my works was when I created the Mother Earth series, composed of Flesh and Erosion. Experimenting with portraying fine details of land erosions on fabric, ceramic, and plaster, was a fascinating experience, which made me continue the theme throughout the rest of the pieces. My works, Extravaganza, Microkosmos, and Squeeze explore this theme through the portrayal of microscopic images of cells. Using a microscope in biology class inspired me to portray this unique subject matter in small individual watercolor paintings, a large-scale acrylic painting, as well as a medium-sized textile piece. I usually employ a vast array of materials, colors, and textures in my works, since it allows me to accurately decide on what selection would be most suitable for emphasizing the flowing forms and the organic properties that each subject holds. In particular, I enjoy using plaster because its versatility allows me to create complex textures on the surface, as can be seen in works such as Kokoro. I was able to highlight the nature of plaster by painting different sections with different watered-down acrylic paints. I also used plaster to create the 3D relief of abstracted forms in the land erosion portrayed in Erosion. The subtle difference in color and texture compared to the complementary ceramic piece emphasized the concept of contrast and duality.
The minimalistic yet stylised works by American artist Georgia O’Keeffe has greatly influenced my exhibition, especially in the way I repeatedly twisted plain fabric as I sewed in the final components of Squeeze to highlight the curvature of mitochondrial cells. Kokoro, which portrays the way our inner emotions influence the way we view the world, was a work that was also heavily inspired by O’Keeffe, as well as Barbara Hepworth, a sculptor known for creating pieces that have an abstract, rounded form.
For the final exhibition of my works, I made sure that the curved, organic theme also applies to the way the scene is set up. Therefore, although the main exhibition is located in front of a harsh L-shaped display panel, I extended the space around the surrounding walls and placed plinths of a range of different heights at the corner and the sides to create a semi-circle. The space has no linearity and is free and flowing, which allows the viewer to wander around, without having to respect a particular order, angle, or direction. I chose to exhibit my works in terms of color and format rather than chronological order or theme. For example, I did not hesitate to place each of the two versions of my abstract Kokoro sculpture on either side of my large-scale abstract painting, Microkosmos, although they are entirely different in terms of theme, because the forms and colors used are similar. Also, I put the two, vibrant-colored figurative paintings Sip and Mikan beside each other on a single wall.
Overall, my exhibition explores the importance of respect for details in our daily lives, a core concept in Japanese culture. Being Japanese myself, I would like to highlight that details are as important as the bigger picture. By presenting this body of work, I am hoping to draw the viewer's attention to how abstract forms are integrated into daily life, and how their presence highlights the unique beauty of ordinary objects, concepts, and sceneries.
Erosion (March 2021)
40 x 30 x 3 cm
Erosion is a piece composed of two reliefs that mirror each other. It expresses the fact that erosions engraved in the land reflect the negative space of elements such as water and wind. I was particularly influenced by Rachel Whiteread and her relationship with negative space, which made me seek a simplistic yet dynamic finish to my piece. The difference in texture between the plaster piece and the clay piece is also a focal point that attracts attention to the presence of great contrast.