Asa HIRAMATSU

“Mapping My Seeds”

2019.11.8 (Fri) - 11.30 (Sat)

 

[Opening Reception]
11.8 (Fri) 18:00 ‒

 

[Tue ‒ Sat] 11:00 ‒ 19:00
[Sun・Mon] Closed

More Details Coming Soon.

Narumi SASAKI

・/♯

La la la la la la la la la la..........
Do do do do do...
Ah ah ah..

 

2019.10.4 [Fri] - 11.2 [Sat]

[Reception]
10.5 [Sat] 18:00 ‒

[Tue ‒ Sat]11:00 ‒ 19:00
[Sun・Mon・Public Holiday]Closed

We are pleased to announce a Solo Exhibition “・/♯ La la la la la la la la la la.......... Do do do do do... Ah ah ah..” by the painter, Narumi SASAKI. This exhibition is her first solo show after the graduation.

In the recent works, she uses canvas and oil paint as the main medium; meanwhile, often adopts the improvised and various technique of collage: combining minerals or woods, self-made ceramics or glasses, or fragments of the other canvas. The motifs suggestive of plants or the bright color appear to show vitality and mystery of nature humorously; but on the other hand, the paints fix on the canvas with the undecidable and abstract shape, as if they get around the definite and rational interpretation.

Via the various transitions of styles, SASAKI has reached the present style. But consistently, she has pursued the style that is according to her real feeling further; seeing the relationship of following 3 things: the impulse “draw something” that human fundamentally has, the metaphysical world that the impluse aims for, and the painting as an existence that appears on the halfway point between the impulse and the world.

For instance, in religious arts that she often saw while studying abroad and research in Europe, a simple action “drawing geometrical pattern without thinking anything” may have a character like the religious faith, and be a way to touch the divinity; even if there isn’t action of drawing the idol’s self. She feels something that is common to her own production in such “drawing” actions adjacent to “praying”; Namely, the expression of impulse to draw that has existed from the primitive era to the present day. Like this, in her works, we can see such various influences from many types of visual arts of all times and places, not limited to contemporary art.

And to embody such spritual energy, the following specific characters that oil paintings as flat-surface works have are essential functions for her production: Paintings assume that the viewers see the surfaces from the front. (Namely, unlike sculptures, the viewers can't see the back side.); Oil paints are diaphanous and let us see the underlayers. For her, these characters symbolize the layers of the plural worlds. In the works in that the various materials meet organically, we can see her action of: dialogues with the materials in the space called a painting; minglings the materials; trying to touch the metaphysical world of the other side of a canvas.

This exhibition will be composed by the newest paintings including a large-size work that have seldom been seen in her recent production, and the pieces that are carefully selected from the past works. We highly appreciate that many people see the genuine debut of the painter who pursues the primitive propositions and the unknown shapes.

Saiko KIMURA “Inside A Room, Outside A Room”

2019.9.3[Tue] - 9.28[Sat]

[Opening Reception]
9.6[Fri]18:00 ‒

[Tue ‒ Sat]11:00 ‒ 19:00
[Sun・Mon・Public Holiday]Closed

We are pleased to announce the solo exhibition “Inside A Room, Outside A Room” by the painter, Saiko KIMURA. Not only making paintings and holding exhibitions, KIMURA is active in the various fields: for instance, illustrations for newspapers or books. This is her 1st exhibition in LOKO GALLERY.

Consistently, KIMURA has treated the plants and the familiar natural environments as the motifs of her paintings. Many of her works are produced through the complicated techniques: Firstly, she makes the multilayered base on the cotton with acrylic and some kinds of medium, so draws the transparent and vibrant figures of plants by the oil mixed with the beeswax.And in many cases, the photos of plants taken by her have been refered when she draws. The vivid color and line drawing give out the dynamic vitality on the surfaces of the paintings that have the distinctive texture. Meanwhile, also the static moments derived from photos live together in the paintings. It’s her works.

On the other hand, KIMURA has gradually changed the style of production. In this exhibition, in addition to the usual series that is based on the photos, the new series will be exhibited: the works that she drew out of doors seeing the natural environment, or drew inside her room seeing the view of outside of a window. These new experiments weren’t hammered out to lead the novel developments. They occured naturally under the influence of the rich nature of Saga where she has moved to last year, and the new residential environment. The paintings have not only the atmospheres of her past works, but also the expressions that have never been seen.

Comparing the various works that were made through different production process and have different expressions; we can see the defined changes in the eyes or the consciousness of the painter, even if the motifs such as plants or daily scenery haven’t changed. From these paintings, the fluid breath of nature and the artist’s beating that synchronizes with the nature appear multidirectionally. Those aren’t caught by the simple words such like “vividness” or “vitality”. The difference and changes that occur in KIMURA’s paintings are very natural. Like plants that grow changing their own modes of life according to the environments, also her paintings seem to have fluid and spontaneous system.

Please come in touch the newest works by Saiko KIMURA; who pursues her own expressions hailing to the outside world each other.

Yuuki WATANABE
Torsional Corridors

2019.7.12 [Fri] − 8.10 [Sat]

[Opening Reception]
7.12 [Fri] 18:00 ‒

[Tue ‒ Sat]11:00 ‒ 19:00
[Sun・Mon・Public Holiday]Closed

We are pleased to announce a solo show “Torsional Corridors” by the painter, Yuuki WATANABE. This exhibition will be his 2nd LOKO GALLERY appearance since a group show last summer; and this will be his 1st real solo show.

WATANABE is in doctoral degree now; and has worked at reconstructing familiar motifs such as daily necessaries, toys and parts of human body on the paintings consistently. In his production, the textures of surfaces of various objects are observed, and drawn realistically. But simultaneously, they are composed in the ways that are peculiar to the paintings: such as adopting the shaped-canvas that are formed corresponding to the shapes of the motifs.

For example, in a painting in which a nude woman going up the stairs is drawn; the upper side of the painting has a function as “a window frame” that trims the motif from the outside. On the other hand, the stair-shaped lower side functions as “a ground” that the soles of the feet touch, and shares the dimension with the motif. One of the keywords in WATANABE’s works is such various “torsions” that occur to the frames of the paintings.

It is his fundamental theme to connect our senses to the hyperspaces that aren’t either 2 or 3 dimensions, meanwhile evoking the real feelings by his unique ideas and methods. The frames WATANABE arranges are the outer shells that retain the pictorial spaces, and are also the fluid devices that relativize the frames of our consciousness.

Please enjoy the entrance of his sedulous painting world, with a focus on the newest works.

Ten-Tan Keisuke KONDO・Hideo FURUKAWA

March 22 - April 21, 2019.

[Live drawing and writing]
23 March(sat)PM
[Opening Reception]
23 March(sat)18:00 ‒

[Tuesday – Saturday]
11:00 – 19:00
[Closed]
Sun, Mon
*Last Sunday will open.

More Details Coming Soon.

Hans Andersson
Exhibition

Feb. 8 [Fri] ‒ Mar. 9 [Sat] 2019

[Tue ‒ Sat] 11:00 ‒ 19:00
[Sun, Mon, Public Holiday] Closed

 

[Opening Reception]
Feb. 8 [Fri] 18:00 ‒

[Artist Talk]
Feb. 8 [Fri] 19:00 ‒

LOKO GALLERY is pleased to announce the first solo exhibition in Japan by Swedish artist Hans Andersson.

Over the years, Anderson has been working with abstract images and sculptural objects using found materials. The artist gives the new history through his long time manual work to objects such as paper bags, plastics, metal scraps and old photo albums abandoned on the streets with their own meanings and history and sublimates them as an artwork. In his carefully structured collages and delicate drawings, you may see process of execution, but actually it is intuitive, not logically assembled, and it is closely related to the artist’ s acts themselves.

Andersson's working style is both spontaneous and passive. He purposely faces to the materials without having a clear plan, and the artist himself will change along with the works and the environment of working place. His production method, which excludes predictions and semantic interpretation and places an emphasis on purely experiencing the situation, is like meditation, and his works may be a record of a spiritual journey of the artist.

The artist who was influenced by Zen thought, Kitaro Nishida's philosophy and activity of Mono-ha, had stayed in Japan for a few months in 2017. In this exhibition, 4 meter huge and other paper collage works produced with a new perspective after staying in Japan will be exhibited accompanied by sculptural objects using metal and leather.

There is no title in his works and all previous solo exhibitions including this show. This shows us artist's intention to encourage viewers to bear away from the words and meanings and to perceive and interpret the works in areas beyond the language.

 

Marcia Cavalcante writes in Lovtal till intet (Eulogy to Nothingness) on how the truth value of interpretation must be sought in the very process of understanding, and that this moment of discovery as such is the focus. For me, to make art is to attempt to be part of the process of understanding. It is an experience occurring in a present moment, where it is always possible to encounter something for the first time. It is a form of de-creation, in which one refrains from identifying with the previous experiences through which the world is encountered. This does not mean denying these experiences, but to not consider them a part of oneself.

- Hans Andersson

 

Hans Andersson
Born in Kalmar, Sweden in 1979. Lives and works in Stockholm.
Graduated from Konstfack University College of Arts, Craft and Design in 2005. He has received several awards and grants such as Helge Ax: son Johnson Foundation and the Arts Grants Committee working grant. He stayed in Japan for 3 months with a residency program of AIT (Arts Initiative Tokyo) in 2017 . He participated in many exhibitions such as "Sweden · Art Now" (Swedish · Art Museum, Stockholm, 2016), "If you do not like art" (Vest / Fonsan Museum of Art, Norway, 2017), Solo exhibition (Royal art academy Stockholm, 2018). His works are several public collections such as the Marumo Art Museum (Sweden) and the Swedish Art Association, the Swedish National Art Council, Fenberger House (Nagano, Japan).