Sequoyah AONO
Vital Beating

2018.11.1 [thu] ‒ 12.1 [sat]

[Opening Reception]
11.1 [thu] 18:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun・mon] closed

We are pleased to announce Solo Exhibition “Vital Beating” by the sculptor, Sequoyah AONO, who has been deploying his activities based in New York. He attracts people’s attention showing his high skills to carve delicate realistic objects, his flexible works by wide range of stone, wood, metal, and/or experimental approach to wood works by burning or cutting parts off. In Western countries he has been highly acclaimed by huge outdoor sculptures and commission works; however, this is his first solo exhibition in Japan.

AONO’s latest work 《Sculpture of Liberty》, the core of this exhibition, is sculpted of black marble which he has kept for about 10 years. From last year to this year he cut out this marble, scrupulously carved, polished and created an elaborate life-sized self-portrait. And then, as the finishing touch, he vandalized this sculpture by knocking down to the ground. At the exhibition you will see the dismembered sculpture itself and the video film which shows the moment of collapse.

At first glance, to complete the sculpture by means of destroying seems to be negative or catastrophic action. But AONO who has daily kept carving stone or wood, says that the action of carving is also destroying; in the sense that it adds artificial changes to material which power of nature creates in years and years. He adds the process of collapsing his core piece to the ground utilizing gravity is somewhat away from artificial carving.

Through these process, the work 《Sculpture of Liberty》 and the exhibition lead us to new viewpoint. The cross-sections by collapsing are beyond imagination - even the artist himself couldn’t expect, and viewers will appreciate unknown prospect and outlook. This destroying action doesn’t mean end or completion; it animates sculpture and it's considered as a starting point to new creation. Eventually, AONO intends that this becomes new questions or irradiation toward essence and visual sense of sculpture-art in general. His works may evoke themes such as succession of cultural assets, perfection and historicity like 《Fragment of a Queen’s Face》 possessed in the Metropolitan Museum of Art in NY, of which striking fragment ushered him to this exhibition as the start. Also destruction and construction by constant disaster in Japan and his own mixed identity of Japan & America exist here as his consistent theme as well.

We highly appreciate that many people see his elaborate artisan sculpture-technique and share creation moment of experimental challenge by detaching hands from the work,《Sculpture of Liberty》.

 

***

 

It’s been almost 10 years since I had first seen a sculpture, 《Fragment of a Queen’s Face》 in the Metropolitan Museum of Art.

The Queen’s head sculpture is said to have been carved during 1352-1336 B.C. and she has lost the most part of head remaining only her mouth and chin.  The large cross section split sharply like a sheet of glass and the fascinating yellow stone tells its hardness.  The split section reveals some kind of vitality and shows natural face of material.  Beating between pure natural look of stone and the artificial surface carved by a sculptor bring out each other to vital advantage.  And the big “lack” stirs up viewers’ imagination, arouses a great deal of controversy and keeps fascinating people in all the years.  If this sculpture were unbroken and remained intact, I wouldn’t feel abnormal impatience to the lost parts like one-sided love, and it would solely come into my eyes as one of the precious cultural assets.

Since I started carving at the university, I’ve been working attracted by the beauty of natural materials and essence of carving.  But at the same time I daily struggle with contradiction or difficulty to complete works by “destructive” action of carving original beautiful natural materials.

After my encounter with 《Fragment of a Queen’s Face》, I just started wondering if there would be the limit in artificial creation, of which thought has gradually strengthened in me, and so I have done a lot of research such as burning or cutting off wood to seek accidental nature just before completing pieces. For familiar examples, in ceramic art; color and brightness of pottery developed by high heat cannot be predicted. “Yakishime-Final Burning” changes the pottery shape and the process of fixing glaze.

Even if broken, cultural assets leave beauty and are wrapped in mystery.  Even though they are created by history, time or accident and their final shapes are enchanting objects with nature power, can’t they be regarded as same as potteries that are made through mysterious high heat processing.

Not creation from nothing, but calculating a lot of requirements or elements that constitute timeless and borderless fascination or beauty, I’d like to incorporate the idea to produce my own art in our times.

Japan is an earthquake-prone country, and has ever experienced a lot of misfortune including being nuked at Hiroshima, Nagasaki and Fukushima; so been forced various ordeal.  For Japanese, actually “Destroying and Creating” may have been familiar for generations.  I have been in America for the past years, but on this occasion of exhibition in Tokyo, I’d like to grope for answers “What are Japanese?” or “Who am I?” through the sculpture; and to invite viewers to unknown and xenogeneic world.

Sequoyah AONO

Ville Andersson
I CAN'T GO ON. I WLL GO ON.

Sep. 28 [Fri] ‒ Oct.27 [Sat] 2018

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

 

[Opening Reception]
Sep. 28 [Fri] 18:00 ‒

[Artist Talk]
Sep. 28 [Fri] 19:00 ‒

“In the middle of the desert, with the pitiless blaze of the sun and the storms trying to empty everything out, there were also a few plants. Contrary to our mental images of them as a symbol of transience, those scarce little flowers became a pristine, life-affirming element.” - Ville Andersson

A photograph taken by Andersson in the desert of New Mexico, US in the last year was the starting point for this exhibition. "White Sands" the desert is the home of the Lincoln Near-Earth Asteroid Research project, which observes asteroids that pass close to the Earth. and also the place where the first nuclear tests in human history were carried out in 1945. the desert becomes timeless and placeless. Andersson is interested in such non-places, which are not just a matter of the absence, but also of the presence of absence. Not of that which is not there, but more a contemplation of what has been or what will be.
The idea was to incorporate concepts such as "consciousness to detail" and "Ma" that the artist who visited Japan repeatedly had been influenced and was brushed up after a residency at The Watermill Center in New York, now the exhibition will be opening in Tokyo.

The landscape images seem to be reproduced from his memory, the working process is perhaps a suspension of disappearance. The other element of the show, the human body and face, is created with a method "digital sculpture" called by Andersson, that is a sculpture in virtual space by 3D modeling software and ultimately been printed like photographs, and also drawn with ink and pencil that is his favorite. The genderless and supple figures seem to be in motion, and yet at the same time static. The works of Anderson move between dynamic and static, concrete and abstract, organic and inorganic. He combines various elements, such as delicate nuances, modest colors, understatement and ephemerality, and creates links between things.

The exhibition title is taken from the last sentence of the novel prize author Samuel Beckett's novel Unnamable, “you must go on, I can’ t go on, I will go on.” . Andersson says that the phrase like mantras reflecting an environment, which is simultaneously tragic and comic. In Beckett's works, the boundary line between the object and subject disappears and the identity of existence is denied. The quotation seems to imply the aspect of a human being living in the modern society that is more fluid and more eccentric than ever before.

 

Ville Andersson
Born in 1986 in Loviisa, Finland. Lives and works in Helsinki. Studied at the Finnish Academy of Fine Arts. He was named Young Artist of the Year 2015, the most prestigious award for emerging artist in Finland. Anderson is working with various media and methodology, and his works are engaged in a conversation with both the history of art and contemporary issues. His works were exhibited at EMMA - Espoo Museum of Modern Art(Espoo, Finland), National Art Center(Tokyo), Vitraria Glass + A Museum(Venice), Museum Weserburg(Bremen, Germany), The Center for Photography(Stockholm, Sweden), FOMU(Antwerp, Belgium). In 2018 he was elected as a residence artist at The Watermill Center (New York, USA). His recent projects include stamps for the Finnish postal service, tableware for the company Arabia, set-and costume design for a theatre play as well as creating the overall artistic look for a public facility. His works are in several public collections including Kiasma Museum of Contemporary Art, Saastamoinen Foundation Art Collection, Amos Anderson Art Museum.

Triadic Surfaces
Yusuke ABE・Moeko KAGEYAMA・Yuuki WATANABE

2018.8.3 [fri] ‒ 8.25 [sat]

[Opening Reception]
8.3 [fri] 18:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon] closed

We are pleased to announce the exhibition “Triadic Surfaces” by Yusuke ABE, Moeko KAGEYAMA, Yuuki WATANABE. They are young painter in their 20’s and 30’s; but the works already clearly show the worlds they aim, and the germination of distinctive forming.

The motifs which frequently appear in ABE's paintings are : fictitious monsters, huge mazes, insects and fishing that he communed with in his childhood. At a glance, they look childish. In these motifs, concrete elements also are not a little included: such as video games and card games that he like, memory of childhood in Yamagata with rich nature, or reference to subculture. But, the thing which ABE really pursues by fusing them: is indescribable unknown world that can takes roots only in the paintings. In his recent works, the abstractness of drawn images rises. And by mixing various materials including things which aren't used to treat in conventional production; he creates strange screens in which some sections of different spacial worlds seem to laminate. We can watch for problem presentation to existing paintings or arts, in his powerful works which are created by stoic and experimental production.

Moeko KAGEYAMA shows us traditional orthodox oil painting techniques, or characteristical imaginative world in her paintings. They may remind us lineage of the modern era arts that have been comprehended with the words such like “fantasy” or “surreal”. But in many cases, the origins of her productions are familiar things that she has touched really. For instance, the one of her important themes is contemporary urban development; and distortion of cities or buildings that are dug and build hurriedly by the development. She has drawn the theme replacing them with the motifs such like enigmatic organisms; or strange monuments that don't fit for the place. In recent works, she keeps those presence, while tries to give the bizarre subjects positive meanings by manipulating settings of spaces or circumstances. The strange images based on her actual feeling become metaphors of modern society, and are starting to enhance the autonomy and to have more multitiered context.

Yuuki WATANABE, in his production, is always conscious of texture that the surfaces of matter have. Most of his works are composed of elaborate depiction of daily necessaries, toys or parts of human body; and formalistic constitution such as adopting shaped canvas that is cut out in the matter's shape. There are not only mere reality, but also challenges to new senses of vision that are arisen by composing and pictorializing some texture. WATANABE says, “I feel that somethings new exist in the blank spot that is neither flat surface nor space; and the spot is born by composing surfaces of matter”. Behind deliberate production and craft-like smooth finishing; the perspectives connecting to unusual space are induced. That is great appeal of his works.

The three painters are quite different; but they have atmosphere of indescribable criticism or metaphysical sign behind the friendly surfaces in common. We hope this exhibition become opportunity for coming in touch the fresh potential and motivation of the three painters.

Chie KODA
Light of Detour

2018.6.22 [Fri] ‒ 7.28 [Sat]

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

 

[Opening Reception]
6.22 [Fri] 18:00 ‒
*19:00- Acoustic Live by 53235.

When I walk alone, I sometimes stop short perceiving me being gazed by scenery.
In the moment, the course of me encounters "before my eyes", and my eyes meet the scenery's gaze.
At the time, I recognize intensely the two sides: that all of the thing called “scenery” have already existed there: and that I, the perceriver, have existed.
Looking at each other with scenery, my viewpoint expands and contracts, my skin which exists on the boundary gets goosebumps.
Like power bubbles up, Like I can't take my eyes off, I'm struck by great affirmative sense.
In high spirits, eyes sparkle, make sure of expanding scenery more distinctly and clearly.

They're unpredictable until happen, but they correspond one by one exactly when I look back later.
Interaction between “I” and “around things outside of me”.
Everything looks like stars which constantly move and blink.
On each orbits, in the infinite crossing, I think consciousness and scenery pull against each other.
They seem to come across abruptly around two eyes.
I want to burn all sense and conditions into my eyes and memory.
Existing is impossible for denial there.
The scenes never disappear eternally.
Also on the way of darkness where I can't see my surroundings and me.
They must be certain light.
They can move planets.

The slowness is reality, when I make them paintings.
But I draw as possible.
As usual, but I want to see the lights together in the passing moment.
In crying and laughing, picking somebody's shoulder, standing by the side, and saying “Look!” and so on.
On each way, I want to encounter in infinite detour again.

 

 

*
We are pleased to announce the exhibition “Light of Detour” by the painter Chie KODA. She has attracted attention by the activity based on participation in residence program at home and abroad, or winning VOCA prize 2017. Her mode of production shows various changes in recent years.

One of peculiarities of her works is: that various viewpoints are integrated on one painting. The most scenes or persons that she draws: are things she has seen by her eyes actually. But It's rare for her to draw one moment on one painting. For instance, when she was working part-time as life guard at pool once, the thing which had burned in her retina for a long time is: the sight of crowd moving in water, and the gurgitation. She often handled the motifs in her paintings, but in some of the works, she added other sights of mountains or forests which are in her recollections timely: or social elements such like political demonstration or internet to sight of the pool. The various viewpoints which connected with different time and space get new beauty and strangeness through synthesizing by KODA's realization; so present us the sight of “pool” that can't exist nowhere but on paintings.

In recent years, KODA has a tendency to develop more extensive field of view on the paintings; keeping the trait of plurality of viewpoint. A distant view which the sun or sky rule; intermediate view which is composed by crowding of little houses, roads; and a close‐range view where plants grow as if it shows existence of painter's viewpoint. The works where these sights are integrated into one; seem like calm landscape at first glance. But in these production processes, KODA has been strongly conscious of self-awareness of her visual line, furthermore, awareness of things like individual “habit” which exists in the moving of eyes; but not combining impressive scenery simply. So the awareness is amplified to her method of drawing, humanity, thinking, and social position. Moreover, KODA has pursued production like giving “some visual line” to every elements of scenery that she can see now; to the good things, also to undesirable things. In her painting, in a distant view and also in a close‐range, everything is given equivalent balance of color and figure. Here, she directly shows her will: to harmonize her changing viewpoints or every elements surrounding her, and to affirm them in one light on the painting. So to speak, the equivalency which dosen't clearly indicate the leading part in the painting; lets the viewers roam in the painting with their own viewpoint, and have a function of letting them aware of own viewpoint standing face to face with the painting. Through various interactive effect, KODA's paintings acquire more multitiered viewponts.

In this exhibition, we show her latest works including one painting which was drawn based on residence program in Shibuya, Tokyo; and on “A little dusk adventure” she encountered there. The program is rare for KODA who has acted mainly in provincial residence. And we show her past works in which we can read her changing of field of view to the present. Please come in touch Chie KODA's dynamic works that make us feel bloodline of the modern and contemporary paintings such like impressionism, cubism, or surrealism; and in the production, she steadily pictorializes her own contemporary / present “Life”.

Ken MATSUBARA
Spring Steps

2018.5.18 [fri] ‒ 6.13 [wed]

[Reception]
5.18 [fri] 18:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon] closed

We are pleased to announce the exhibition “Spring Steps” by Ken MATSUBARA. He has handled videos and photos as his main media since the 1980s. His works multidirectionally expands with various objects and installations, and attracts attention at home and abroad. This is his first exhibition at LOKO GALLERY.

The theme he has consistently held in recent production is “memory”. For instance, in the works, old found photos / objects make us feel profound historical background proper to itself or signs of nostalgia; on the other hand, by being given anonymity in simple and fresh structure of works, the things are resonant with viewer's memory, and is focused to make also wholly new images. We can find not only straight critical mind or nostalgia, but also some kind of positive jumps which can dwell only in visual art. He talks about such dynamics that arise from repetition, circulation and resonance of memory; by citing the words “repetition and reminiscing are same movement” “The reminisced things are things which existed in the past. That is iterated backward, but true repetition is reminisced forward” by Søren Kierkegaard.

In this Exhibition, Matsubara shows video and installation works that used “Dance” as a subject for the first time in his carrer. Dance hall and social dance are cultural symbols in restoration age of postwar Japan; they are symbols of European and American sophistication that young people longed for then; simultaneously, they and Asian modernization or colonial rule are opposite sides of the same coin. Regarding such complex contexts, in his works, Matsubara summons and reminisces about dymanic calor which dance culture had once in this country; and he aims to create new magnetic field toward the future.

Asa HIRAMATSU
waft / vacant

2018.4.18 [wed] ‒ 5.12 [sat]

[Opening Reception]
4.18 [wed] 18:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon] closed

(*We will be opend on 5.3 ~ 5.5 )

Wavering.
It exists between visible and invisible.
It expands the scenery.

There, the clouds melt boundary,
and the clouds float in the place
where I’ve thought boundary.

In the paintings,
there are days
in which I can place value on the sign.

I think so, and draw.

*

We are pleased to announce the exhibition “waft / vacant” by the painter, Asa HIRAMATSU.

She is active in mainly making paintings, and also attracts attention by illustration for various books in recent years. The motifs make us feel breath of silent another world. And the heavy matière which is produced by repetition of layer, digging and sanding with oil paints; that invite the viewers to her painting world.

HIRAMATSU has consistently drawn vast and stark land in her paintings. The land is in her body. She gazes actual world, after a little while, the existence of the world wavers. And the another land appears. She calls the thing “sign”; which appears in the important moment. For instance, the nonsolid existence such like clouds she often draws in her works; symbolize the sign of the wavering.

She has ever recognized that actual world and the another world in herself are separate fields. But she also says that the boundary of two worlds starts to blend into one another recently. So, it is significant aim for her to treat such various contrary elements equally in making paintings. For HIRAMATSU, action of overglazing oil paint may be for tying “signs” scattered among various worlds, and fixing them on paintings.

Please come in touch the newest works by Asa HIRAMATSU; who pursues her own painting by diving into imagined landscape, and struggling with paint.

Masahiro WADA
MASAHIRO WADA FILM WORKS

2018.3.23 [fri] ‒ 4.14 [sat]

[Opening Reception]
3.23 [fri] 18:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon] closed

 

cooperation : Ome Video Club

We are pleased to announce the exhibition “MASAHIRO WADA FILM WORKS” by Masahiro WADA. This exhibition will be composed of mainly his recent film-works which featured Japanese old tales.

WADA has taken up old tales such as “Saru-Kani Gassen (Battle Between Crab And Monkey)”, “Kobu-Tori Jiisan (The Old Man Who Got His Wen Snatched Off)”, “Yamamba (Mountain Witch)” in his film-works. These fairy tales are very well-acquainted for Japanese people. But WADA’s works show serious images, and expand into multilayered construction; as if to reveal aspects of our society or abyss of human mind.

So he has often used the method of amplifying movable architecture-like installation in the film; or primitive and necromantic motifs such like fire, meat, darkness, smoke in these works. These are important elements also in the other recent his works. Coming in touch with these symbolic elements; we can find his dynamic experiment and challenge for various art styles such like film, installation, performance.

In this exhibition, we aim to close-up one aspect of recent WADA; by exhibiting preceding 3 old tales works, with other works relating myth or folklore, and sketching materials.

Eyal Segal
GROUND LEVEL

17 Feb. Sat. - 17 Mar. Sat. 2018
Open: Tue- Sat 11:00 - 19:00
Closed: Sun, Mon

Opening reception
17 Feb. Sat. 18:00 -

Artist Talk
17 Feb. Sat. 19:00 -

Cooperation
Embassy of Israel in Japan

Yebisu International Festival
for Art & Alternative Visions 2018
"Mapping the Invisible"
The partnership program “Displace" vol.2

LOKO GALLERY
Artist in Residence Program
for Israeli Artist 2018

LOKO GALLERY is pleased announce the first solo exhibition in Japan by Israeli artist Eyal Segal.

This exhibition is the result of a residency program that was made possible through a collaboration between the gallery and Embassy of Israel in Japan and also the partnership program of The Yebisu International Festival for Art & Alternative Visions. The gallery will present a project entitled ‘Displace’ , which includes solo exhibitions by Japanese and Israeli artists.

The key word for Segal’ s work is ‘place’ . Here, memory, history, human activities and the traces of particular places are epically drawn on the screen. Furthermore, his video projects are composed and positioned such that they mutually influence each other, creating a sublimated site-specific installation in which the exhibition space itself forms an element of the work. His solid video images are as if three-dimensional objects, and the artist’ s own body appears on the screen and transforms the space as a heavy bronze sculpture would.

The title of the exhibition, ‘GROUND LEVEL’ (= Ground State) refers to the state in quantum mechanics with the lowest energy that an atom or molecule can have. There is the least motion in that state. However, in this exhibition, movement can be found in the videos. These are not only physical displacements such as vertical and horizontal movements and rotation, but the flow of history, circulation of images and exchanges of life and death.  Segal creates ‘GROUND LEVEL’ by balancing the energies of different vectors in the multi-layered space of the gallery.

The last piece of the exhibition puzzle, which will be completed during the residency period in Tokyo, has as motifs two stories of history involving life and death in the two cultures, Judea and Japan. Focusing on the place as a trace that continues to exist even after many years have gone by, Segal will show the shapes of lost characters in the stories and in ourselves, who exist in the same historical line as them.

 

Eyal Segal

Lives and works in Tel Aviv-Jaffa. He was born in Arad, Israel, in 1982, and is Jewish, with family roots in Germany and India. After completing his studies at Shenkar College of Engineering and Design in Tel Aviv, he began working as a studio director for the world-recognized video artist Sigalit Landau, for a period of five years. In 2013, Segal exhibited his first Solo exhibition in the Negev museum of art (Beer Sheva, Israel), and since then, he participated in numerous exhibitions in museums, art spaces and international art festivals all over the world. Segal’s work sets out a specific ‘place’ as a starting point and attempts to create self-understanding in relation to memory and history. Presenting multiple video works in combination, he incorporates positional relationships in the exhibition space and creates the possibility of new interpretations.

 

Ryo Shimizu
grassroots prophet 

16 Jan. Tue. - 15 Feb. Thr. 2018
Open: Tue- Sat 11:00 - 19:00
Closed: Sun, Mon

Artist Talk
10 Feb. Sat. 19:00 -

 

Yebisu International Festival
for Art & Alternative Visions 2018
"Mapping the Invisible"
The partnership program “Displace” vol.1

LOKO GALLERY is pleased to announce the exhibition "grassroots prophet" by Ryo Shimizu.

This exhibition is also the first exhibition of "Displace" the gallery curated two solo exhibitions by Japanese and Israeli artists as the partnership program of The Yebisu International Festival for Art & Alternative Visions "Invisible".
Shimizu focuses on the relationship between the space and its background, mainly using characters. Since 2011, he is working on installation using architecture, video, text, voice, based on fieldwork in Japan and abroad.

The title of this exhibition, "grassroots prophet" (nameless prophet) came from the idea that he thought of about “a reverse causal relationship”, that is, the past has no influence on the present or the future, and if the future is affecting the past, how ordinary people like us influence the past?A Chinese literary scholar, Shizuka Shirakawa argues in his book "Kanji(Chinese characters)" , “Kanji encloses a memory of the era of words far away before characters were born”. While Kanji and characters conceal such magical elements, and also it can be said that it is a tool that penetrate into everyday life or that is a symbol without consciousness. Shimizu handles characters as a material of creation because he thinks that "unconsciousness" or "atmosphere" that is lurking behind ordinary space from ancient times could be visualized.

In this exhibition, he mainly considers the interviews with “Wansei”(Japanese who was born in Taiwan during the Japanese colonial era) whom the artist met during in the artist residency in Taiwan. He will also show a session with a Wansei, Ms.Yoko Nakada, known as "Reverse singing grandma" and the video work borrows typical example sentences from English teaching materials in the installation using the multi-layered structure of the gallery space.

 

Ryo Shimizu

He was born in Kagawa prefecture in 1977, lives and works in Kanagawa prefecture.
He focuses on the relationship between the space and its background, mainly using characters. Since 2011, he is working on installation using architecture, video, text, voice, based on fieldwork in Japan and abroad.

http://ryoshimizu.jp/

TODO “Bau / Bau”

2017.11.24 [Fri] - 12.23 [Sat / Public holiday]

[Reception]
November 24 [Fri] 18:00 ‒

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

[Entrance] Free

We are pleased to announce the exhibition “Bau / Bau” by the sculptor, TODO.

TODO is known for the works in which special debris, minerals or old books are combined with laminated glasses; for example, he has used the materials such as “Bricks of the building that was collapsed by Great Kanto Earthquake” or “Berlin Wall”. But simultaneously, he has created wide variety of works; a large quantities of drawings he makes everyday, or the installation that is constructed out of numerous wooden boxes; he treats the boxes as “small space” in the installation. In TODO's works, the textures and identities of materials are directly made the most of, concurrently disassimilated and sharpened through craftsmanlike handwork; the works attract people's attention at home and abroad.

In his manifold works, the one of common elements is; interest about “material” or “space”. There are also various aspects.

For instance, the laminated glasses are often recognized as catalyzer to get into; time that minerals enshrine, or historicity of debris that were parts of buildings once. TODO says that the process for laminating and polishing glasses are similar to looking into or exposing the story that each material has.

The other side, TODO aims for “changing the quality of space by the existence of sculpture” as a sculptor. Then letting glass appear in material means; “Showing the space inside material” for him. Making space exist inside the works itself, farther the material is part of building that had composed the another space once; It seemed as if the multilayered structure of work symbolically reveals various perspectives about material, space and architecture.

The title of this exhibition “Bau / Bau” shows the two words; “Abbau” which means 'Demolition' or 'Remove', “Aufbau” which means 'Build' or ’Structure' in German. This exhibition will appear with the installation that reconstitutes the space by scaffolding. With dynamic architectual experiment to gallery-space, we will approach the exciting world surrounding “material” or “space”; they are also origin of his creation.