ATARO MATSUO

KAN-ZAN-LOC

KEITA SAGAKI

JUNICHI ITO

MASAKI OKUTEN

TOSHIO IEZUMI

YOICHIRO NISHIMURA

YOSUKE MIYAO

TAKAHIDE KOMATSU

YOH NAGAO

YUKI NARA

TOSHIO IEZUMI

Toshio Iezumi (b. 1954) is a world-renowned glass sculptor recognized for developing a unique technique for shaping glass by laminating sheets of glass into a bloc, then carving and polishing it with stone carving tools. Influenced by ancient Chinese bronzes as well as the works of Brâncuşi and Donald Judd, Iezumi’s technique of direct curving and dealing with light reflection and refraction seeks to illustrate volume and depth as it occurs in the glass.
 

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 reflectie 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”.

Japan is known for its tradition of artistry and craftsmanship, evident in items such as washi paper, kimono, and ceramics. Artisans undergo lengthy apprenticeships to hone their craft. Like the artisans before him, Iezumi began his relationship with glass when he enrolled in the Tokyo Glass Art Institute in 1983. Since then, he has been experimenting with sheets of glass, ranging between 2mm and 2cm thick, meticulously perfecting his craft and technique to create the beautifully organic sculptures for which he is known.

KAN-ZAN-LOC

Japanese artist Kan-Zan-Loc (b.1964) believes that the blood of the art is blue. “I chose the indigo blue as the ultimate color of the one and only. I did not know it is the same blue which is called as “Vermeer Blue”, or “Hokusai Blue”. I wonder if you knew that the blood of the art is … blue.”

For nearly four decades of his artistic career, Kan-Zan-Loc has employed a paint pigment derived from Ganryo, a traditional Japanese medium crafted from powdered shellfish and dyed with indigo-plant-blue. This blue Ganryo serves as a cornerstone of his Line Art.

In a practice steeped in Japanese art traditions, the artist has devoted much of his time to pigment research, including ganryo, indigo, lapis lazuli, malachite, and azurite as well as gold and silver used in traditional Japanese art. .The gradient of blue, ranging from the deep hues of the sea to the clear blue sky, is achieved by skillfully blending these gemstones, gradually adjusting the tone, and carefully applying the pigment layer upon layer, creating the signature spectrum of blue by the artist Kan-Zan-Loc. His goal is to make traditional materials relevant in the narrative of contemporary East Asian art.

KEITA SAGAKI

Keita Sagaki (b.1984 in Ishikawa, Japan). At a young age, I was exposed to a rich culture of Buddhism and a vivid recollection was when my father  and I visited the Buddhist Temple known as Toga Meiso no Sato (Contemplative Village) where some magnificent and monumental Mandala paintings are on display. The extremely elaborate depictions, the rich psychedelic colors, the fractal design with countless Buddhas of various sizes arranged within inspired my fascination to draw a two dimensional, non-linearity composition painting similar to Mandala. I was greatly moved and the obsessional visual impact of Mandala has now become the core of my works.


The extensive use and manipulation of Japanese anime or manga characters defines my drawings. The subtle application of infinite strokes deconstructing and reconstructing the manga characters, some originating from famous Japanese anime, rendering a new perspective that shapes the body of works, a discipline learned over the years. 


The interpretation of ‘Deconstruction’


The word “Deconstruction” is the central theme of this exhibition and is a way of thinking advocated by French philosopher Jacques Derrida. This philosophical term aims to break existing value from Binary opposition and build new value. These fundamentals are similar to my artistic concept and style. 


“When looking at my works, changes in viewpoint visually dismantle Baroque classical masterpieces [Baroque painting also has a binary confrontation such as "light and shadow”, “static and dynamic"]. By eliminating prejudice on existing values, I want to create new values from various opposing concepts, for example, life and death, the sacred and the profane, order and chaos, beauty and ugliness, western art and Japanese art” 

YOICHIRO NISHIMURA

After studying Photography in the Bigakko School of Arts, Yoichiro Nishimura (b.1967) expressed an interest in taking photographs of his surroundings and with the influence of the two admired Japanese photographers Takuma Nakahira and Daido Moriyama, it has since then, become the focal point of his lenses.

In his “Life” series, artist Yoichiro Nishimura has done years of experiment, capturing the beauty of his own ‘Ikebana’: the Japanese art of flower arrangement. The format which the artist employs expresses the flowers’ elegance, one of the two translations in Japanese Kanji characters for the word flower (). On a dark setting, the flowers are photographed under natural light using a Hasselblad camera, a snapshot where his emotions and values resonate describing the balance between life and death. 


Nishimura’s award-winning “Blue Flower” series is an eight-year abstract of his daily encounters. With a career spanning over three decades, Nishimura invented a new photographic technique called ‘Scangram’. Inspired by Man Ray’s photogram, an old and classic shooting technique in which the subject is placed on chemically treated paper and exposed to a light without using a camera resulting to a monochrome image, Nishimura’s Scangram technique creates a luminous negative digital version of photogram. The visual reversed effect adds a mystic silhouette as if the image is captured under a moonlight. Nishimura sometimes describes his “Blue Flower” series as “flowers of the shadow” and is popular among his followers and collectors both in the East and West.