When In Tokyo
Highlights of the exhibit
"Out of Sight, In My Mind"
"My works arecreated byreconstructing the images of famous classical paintings by drawing a large quantity of doodles.My style inducesa gap between macro perspective and micro perspective.A familiar painting’s imagecan appear completely different from a change in perspectiveor standpoint. In other words, the human sense of value and beauty is uncertain, changeable and easily affected by assumption and bias. I wish to unsettle the values of such viewers through my works." - Keita Sagaki
Medium: Pen on Classico Fabriano Paper, Mounted on Board
Dimension & Year: 81.3 x 54 cm, 2023
"Putona 4"
Putona is an old English word derived from "putian" which means push, and its etymology carries the meaning of "fixing in place". In his painting process, Okuten uses both oil and acrylic paints and controls their properties, applying them in layers. By incorporating shaped canvases into the composition of his paintings, Okuten's works give the viewer a sense of physical presence, rather than just being a traditional painting hanging on a wall. He describes his work as a "figurative process of putting paint in place." The thick layers of paint, the thin and fine layers, and the underlying base layer, which reappears with the aid of masking tape, are intended to allow the viewer to reconsider the order in which the artist has created the work and relive the layered structure.
Medium: Oil, Acrylic, Canvas on Panel
Dimension & Year: 91 x 72.7 cm, 2023
"Form Series F.220801"
Toshio lezumi employs angle grinder as a tool for shaping glass. He is a master of this technique which requires extensive experimentation in grinding and polishing the glass surface and the use of heat reflective glass, which traces the concavities and convexities that spread like ripples of water.
The artist’s works are collected by notable museums such as the Museum of Art and Design in New York, the Los Angeles County Museum of Art, the Real Fabrica de Cristales la Granja, and Tokyo’s National Museum of Modern Art. Iezumi’s works have been published in over ten books, included in Dan Klein’s “Artist in Glass”, David Whitehouse’s “The Corning Museum of Glass: A Decade of Glass Collecting, and Martina Margetts’ “International Crafts”.
Medium: Flat Glass, Carved and Polished
Dimension & Year: 20.5 x 19 x 24 cm, 2022
“Great Wave – Kanagawa Oki Namiura”
Kan-Zan-Loc (b. 1964) is a contemporary Japanese painter for whom the traditions of Japanese art are a fundamental part of his artistic practice. Each of his paintings is an exploration in making Japanese art traditions contemporary. It ranges from the pigments selected, to the use of a paste-like resist (similar to the Tsutsugaki technique used in the traditional Japanese indigo dying process for fabric) to create lines. Each plays homage to a particular Japanese tradition.
Great Wave, painted in 2021 by Kan-Zan-Loc was produced as a homage to Japanese painter and printmaker Hokusai, in particular his woodblock print ‘The Great Wave off Kanagawa’. Curvilinear lines are used to depict the energy of the great wave, the bubbling foam seething and writhing like some mythical creature of the deep. Indeed, drawing nature such as rain or waves with lines is a tradition in Japanese paintings. Indigo and ganryo are used to give the great wave its blue tone, painstakingly applied layer by layer creating depth and contrast. A decorated border in gold echoing the gilded picture frames from the Meiji Era frames this monumental great wave enhancing its presentation.
Medium: Ganryo – Indigo-blue, Shellfish powder, Pearl powder, Gold powder on Fabriano Paper
Dimension & Year: H 91cm x W 60 cm, 2021
Life | Yoichiro Nishimura
The images from the “Life” series are the result of years of experimentation by Nishimura. Using dark settings, the flowers are photographed under natural light using a Hasselblad camera, the resulting images are Nishimura’s interpretation of ‘Ikebana’ the Japanese art of flower arranging. The balance between light and dark without the noisy interference of color, leaves the viewer to contemplate, to reflect on the balance between life and death, and the Chinese principles of yin and yang.
“It’s Life, but when you look at the photos it’s monochrome or black and white. We sometimes attribute Life to a colorful event, things, or life, so why is it Black and White?
I feel that the gradation of a monochrome photograph encompasses all colors, resonates with both the conscious and unconscious minds, and deepens the image. No matter how many times you look at it it, you will never get tired of it, and it has the power to shake our heart.” - Yoichiro Nishimura
Born in Tokyo in 1967, Nishimura completed Photography course at Bigakko and became a photographer’s assistant before becoming a freelance photographer in 1990. Nishimura uses camera technology as a means of creating art. He is most known for his experimentation with camera-less photography, particularly photogram and scangram, a digital incarnation of photogram.
All works are made to order and it will take 4 weeks to prepare, print and frame the works you like. Photographs are printed on archival glossy paper. Print sizes are 80 x 70 cm for HK$20,000 or 60 x 50 cm for HK$15,000 or larger format print is available upon request. For more details and purchases, please contact us at hongkong@jasonsveinn.com.
