ART & ITS FREQUENCIES
In Art and Its Frequencies, we invite artists to share their unique wavelengths of thought—their insights, processes, and cultural contexts—to create a polyphonic understanding of Shapes and Spaces. This practice, which we will continue in future exhibitions, reveals how art transmits meaning across varied registers of perception through spatial frameworks.
Frequencies. It is a conceptual framework where art is understood not just as static objects, but as dynamic transmissions—operating on different wavelengths of meaning, perception, and cultural resonance.
Of Shapes and Space
MoCAF | July 11 - 13, 2025
Marquis Events Place, BGC
𝐀 𝐧𝐞𝐰 𝐝𝐢𝐬𝐜𝐨𝐯𝐞𝐫𝐲—
𝐚𝐧 𝐢𝐧𝐧𝐨𝐯𝐚𝐭𝐢𝐨𝐧 𝐢𝐧 𝐡𝐢𝐬 𝐜𝐫𝐚𝐟𝐭,
𝐰𝐡𝐞𝐫𝐞 𝐜𝐚𝐬𝐜𝐚𝐝𝐢𝐧𝐠 𝐟𝐨𝐫𝐦𝐬,
𝐨𝐧𝐜𝐞 𝐥𝐢𝐤𝐞 𝐰𝐚𝐭𝐞𝐫𝐟𝐚𝐥𝐥𝐬,
𝐧𝐨𝐰 𝐞𝐯𝐨𝐤𝐞𝐬
𝐚 𝐩𝐫𝐨𝐧𝐨𝐮𝐧𝐜𝐞𝐝 𝐦𝐨𝐢𝐫é 𝐞𝐟𝐟𝐞𝐜𝐭,
𝐢𝐦𝐩𝐚𝐫𝐭𝐢𝐧𝐠 𝐚 𝐬𝐭𝐫𝐢𝐤𝐢𝐧𝐠
𝐬𝐞𝐧𝐬𝐞 𝐨𝐟 𝐝𝐞𝐩𝐭𝐡
𝐰𝐢𝐭𝐡𝐢𝐧 𝐭𝐡𝐞 𝐠𝐥𝐚𝐬𝐬.
The new work is designed to evoke a pronounced moiré effect across the laminated surfaces of the plate glass.
While the glass itself remains unchanged, a new lamination technique introduces this optical phenomenon.
The resulting moiré imparts a striking sense of depth within the glass, drawing the eye inward while subtly unifying the material presence of its front and side views.
From my perspective, this interplay of patterns brings a compelling new dimension to the work’s visual expression.
-- Toshio Iezumi
Title: Move Series: M.250401
by Toshio Iezumi
Medium: Float Glass, Ultraviolet Adhesive, Half Mirror, Carved and Polished
Dimension & Year: 60 x 7 x 7 cm, 2025
A pioneer in crafting laminated glass sheets into undulating forms, Toshio Iezumi has been selected to participate in important group exhibitions such as the Representation of Flat Glass-Notojima Glass Art Museum, The International Exhibition of Glass Kazanawa, and Venezia Aperto Verto, on top of many invitational exhibitions from various states in the USA and in Australia.
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”.
This exhibition aims to be more than a display—it’s meant as a dialogue among artists, works, and viewers. What conversations or connections do you hope your work creates within this shared space?
Through my work, I hope to evoke an experience in which the viewer’s vision oscillates along multiple axes—front and back, left and right, positive and negative.
This movement, which includes slight confusion or hesitation, encourages viewers to actively engage in reading and interpreting the space.
Through this process, a quiet dialogue may arise between the work and the viewer—and even between the viewer and the entire surrounding space. I hope such connections will emerge, gently shaking the framework of perception and sensory awareness.
-- Yosuke Miyao
What ideas or intentions guided the creation of your work in this exhibition, and how do these relate to your personal understanding of shape and space?
The Echoed Processes of Rest and Perception of Space
In our fast-paced world, the significance of rest is often undervalued. Rest is not merely a cessation of activity; it is a vital process that allows us to reflect on our lives and our place within the vast expanse of the universe.
When we consider our existence in the context of the universe, we are reminded of our relative smallness. This awareness can shift our perspective profoundly. It encourages us to step back from the grind, to embrace the notion that life is fleeting, and to cherish the present moment.
-- Joshua Limon Palisoc
I hope this work is not merely something to be observed, but a device that poses questions to its viewers: Why do we move forward? Can we truly experience time? In this accelerating, fractured, ever-updating world, I hope Somewhere in Time becomes a point of pause—a moment that allows one to slow down, to gaze, and to return to the rhythm of their own breath.
This piece is a microcosm. Within it, the viewer is not merely a spectator but a co-constructor—pulled by light, reflected in the mirror, moved by the rhythm of motion. I hope it resonates rhythmically and philosophically with the other works in the exhibition: while the broader space speaks of chaos and complexity, this piece offers a micro-level perspective of introspection.
As Paul Virilio once said, “The world we see is vanishing.” I believe art can leave traces amidst this disappearance. My hope is that my work can remind viewers: You are experiencing time. You are here, now.
-- Yiting Tsai
