TRiCERA is pleased to announce a group show of multiple works by five artists: Takumi Saito, Samehoshi, Manami Azuma, Kanae Taku Hayashi, and Azusa Nozawa, from December 19 (Sat) to January 19 (Sat), 2021.
About this exhibition
The title of this exhibition is taken from “The Shape of Time: Remarks of the History of Things” by art historian George Kübler (1912-96), which focuses on the time associated with artworks and the activities of the participating artists. In addition, printing, one of the two-dimensional mediums, will be employed as a proposal for viewing experience.
Painting and printmaking often have an ironic relationship in various fields of art. In contrast to painting, which is a material with complex information and structure through materials such as painting mediums and the physical traces of the artist such as strokes and brush strokes, printmaking has a function like a record that extracts the image and fixes it on the paper.
Paintings are naturally damaged and worn down over time, slowly wearing away like melting ice. This fact reminds us that painting is a flat object, and at the same time it brings a new perspective of appreciation of painting as a material, while prints are a medium that is more faithful to the recording and transmission of images, apart from the materiality and physicality of the work, and each has a different way of time flow.
In addition to referring to time as it relates to artworks, this exhibition will attempt to interpret the current state of expressiveness of the participating artists by unraveling their expressions from the angle of time.
Takumi Saito depicts her childhood self in landscapes that remind her of emotions that have faded as she has grown older. In her works, which depict the two tenses of present and past on a single screen, the irreversible progression of time and the sentimentality associated with it are richly and quietly conveyed.
Sameshoshi has been depicting phenomena with different vectors of collapse and generation on the face of a deformed girl. In addition to the aforementioned ambivalent character, the work in this exhibition explores the collapse of plasticity from a new perspective by smashing a cake against the face.
Using bishojo figures and toys as motifs, Azuma has been painting experimental works that confine time to the canvas through the movement of rotation. He continues to use visual language to present his thoughts on sequential time, repetitive time, and objects in motion.
Kanaewu Hayashi has been working on the theme of speed in the plane. Needless to say, painting is a static object, and motion as a phenomenon does not appear on the screen, but she has been addressing the issue of speed on a stationary screen, just as the Futurists did.
Azusa Nozawa uses sticker bombs, a technique derived from the street culture of customizing automobiles and motorcycles, as a citation in her paintings. Her paintings, in which images are layered on top of each other, have a multi-layered structure, and the time they contain is extremely complex, which is what distinguishes them from illustrations and gives them the significance of existing as paintings.
While Kübler attempted to analyze the flow of style and series associated with the works themselves, this exhibition expands from that and aims to provide an opportunity to consider the flow of time associated with art works and their material nature in an ironic way by exhibiting not paintings, which are the result of the act of creation, but printing works, which are the record of that act. The exhibition aims to provide an opportunity to consider the flow of time and the material nature of art works in an ironic way. We hope you will enjoy this opportunity to think about painting itself through the images of artists who quietly tell their stories on paper.
Born in Tokyo in 1996, graduated from Musashino Art University in 2020 with a major in Japanese painting. Major group exhibitions include “daily aw” (Koenji pocke / 2019 / Tokyo), “fog” (exhibition space CLOSET / 2020 / Tokyo), “ob curated exhibition neo wassyoi” (hidari zingaro / 2020 / Tokyo), and solo exhibitions such as “tender age” (Shinjuku Ophthalmology Gallery / 2020 / Tokyo).
Born in 1997 in Tokyo, Japan. Graduated from Musashino Art University, Department of Oil Painting, majoring in oil painting. since around 2016, she has been drawing a girl who repeatedly collapses and forms with acrylic paints and pens.
Hayashi Kanae Takeshi
Born in Nagano, Japan, he has been working on the theme of speed in two-dimensional expression since 2011. In 2015, he announced his declaration of speedism. Major solo exhibitions include “Big Tree and Giant Woodpecker” (Clear Edition & Gallery/2015) and “God of Speed” (WISH LESS gallery/2019).
Born in Yokohama City, Kanagawa Prefecture in 1988, she received her MFA from Joshibi University of Art and Design in 2013. She received the Ichiro Fukuzawa Award in 2013. Major exhibitions include “Meklichkeit 4” at Roentgenwerke (2013), “Future Exhibition” at Nichido Gallery (2016), and “ICON” at MASATAKA CONTEMPORARY (2019). In addition, he has exhibited at many art fairs in New York and Hong Kong.
1994年静岡県出身。2019 東京藝術大学絵画科油画専攻卒業。主な個展に「× と Ч の は く ち ゅ ~ む」(hidarizingaro/2018/東京)、「ふれてほとぼり」(Medel Gallery Shu/2020/東京)が、主なグループ展には「HERBEST展」(hidarizingaro/2011/東京)、「ポリノミアル」(新宿眼科画廊/2012/東京)、「ART KYOTO 2012」(Hotel Montery Kyoto/2012/京都)、「まんなかぐらでーしょん」(新宿眼科画廊/2017/東京)、「199X6」(shuuue/2017-2020/東京)、「ART TAIPEI 2020」(2020/台北)