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).

Yusuke ABE
Live through the backwoods

2018.12.7 [fri] ‒ 2019.1.26 [sat]

*12.29 [sat] - 1.10 [thu] : closed

 

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

 

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

We are pleased to announce Solo Exhibition “Live through the backwoods” by the painter, Yusuke ABE. He is a young painter who just graduated from master's course of art university; but has been deploying his activities with stoic production and powerful works at home and abroad, and has attracted people’s attention little by little. This exhibition is his first solo show after graduation.

The pop characters, that are full of feeling of stir as if to realize at once. Or the strange screens, that are generated by the bold construction such like; sticking trading cards or plastic products on the painting; gluing other canvases on a canvas. When we stand in front of ABE's painting, At first these catchy elements attract our eyes. We can read his memory related to game culture or nature that he has communed with from childhood to now; or his original critic eyes and new presentation about form and style that are led by his honest research on painting and fine-art history.

Even if you enjoy only these elements, ABE's works are sufficiently attractive. But beyond them, there is more different, indescribable something that propels him to create paintings.

For example, ABE says that: the insects, fishes and fictitious monsters that he adopts in his paintings are absolutely equivalent to a line that was drawn by a paintbrush casually. Insects in bush, fishes in water, monsters in the world of card or game. They come into existence in accordance with the environment of respective dwelling, and live. Since childhood, ABE has encountered those residents of other worlds through insect collecting, fishing or playing games. And he has been surprised at the existence of them that have life and environment that are distinct from himself, and attracted to them. And the interest evolves into self-awareness that he himself also lives in the limited environment, “world of human”; and that he is still not different from the residents.

When he was a high school student, he took oil paints for the first time, and drew a casual line on canvas. For ABE, The color line looked like living thing that was established and given life by the structure of the world where the line lives, namely the environment of “world of painting”. And that is still not different from the residents, too. This is an episode that describes his origin of incisive sense toward visual arts. In addition, paintings have not only such autonomous environment, but also evident traces of the artist. For him, paints and brushes may be the tools to access simultaneously both world like his alter ego, and completely different unknown territory. He has been absorbed in such ambiguity that painting has, and piled up production.

What does the word “Free” mean in the title of this exhibition? (Note: English metaphrase of the title is “To be free decisively”.) Of course, for him, that doesn't mean the superficial elements such like sticking favorite things on the painting, or applying strange composition. Assuming that painting for ABE is a tool to grasp and seek both the world he lives and the other worlds other life live; the “Free” may be, for instance, burning his own life maximum in his own environment; while touching some worlds that exist in plural dimensions, and feeling the respective fate that we can’t get away from the each environment.

This exhibition will be composed of his newest series in that various techniques of his past works are included, and the important pieces that are selected from numerous works in the past few years. We highly appreciate that many people see the debut of the anticipated painter who faces painting most sincerely, desperately, and directly, at present.

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”.