Painting of Marble
2017.4.7 fri – 5.6 sat
[Reception] 4.7 fri 18:00 –
[Tue – Sat] 11:00 – 19:00
[Sun, Mon, 4.29(sat)] Closed
in cooperation with:nca | nichido contemporary art
Akira ISHIGURO has been exploring ‘Genuine and Fake’ and ‘Truthfulness and Falsehood’ through the painting series, ‘A Steganographic Romance’ that replaces characters of 19th century academic art with Japanese “Anime” figures, or ‘GRAVITATIONAL FIELD’ that duplicates the surface layer of marble quite realistically as a painting. In these series, his works are presented as ‘Fake’ of existing famous old paintings or natural stone. His respect for ‘Genuine’ can be seen from the thorough adherence to reproducibility, denying that it is an easy parody, and the composition of the binary confrontation which was clearly made proves his attempt is carefully set up and is different from mere sampling or appropriation. The beholder’s senses perceive the uncertainty of ‘Reality’ coming and going between truthfulness and falsehood.
In this show, the un-exhibited large works from ‘GRAVITATIONAL FIELD’ would be shown with his new series of works named ‘Marblesque’. The former is the precise reproduction of a marble surface, whereas the latter is the expression of the artist’s appetite for creation and energy. These reality and abstraction are very contrasting as paintings; however, the aspect of his jittery expression ‘between twisted truth and false’ emerges by exhibiting the two series in front and back of his creation in the same space.
Moreover, his altisanistic method to reproduce the formative of art used in both the series is fostered through his vast experience, which is the core of his creative process and works as the foundation of his philosophy. It is an important component of Ishiguro’s art in the pursuit of true and false.
The marble-covered building directs wealth and power, spreading widely as a symbol of prosperity since the Roman Empire. At the same time, as a cheap replacement for marble, a technique to draw fake (Faux Finishing) spreads, and in the 19th century, when neo-classicalism prospered, it revolutionises and develops greatly. What I saw in Europe seemed to be at the core as an expression while being a fake, although there was a difference in style depending on the region. I attempted to consider ‘the truth in the false’ through consciously reproducing the marble as a painting.
The ‘Gravitational Field’, which draws fragments of nature encompassing the whole world as a landscape painting without perspective, is a figure exploring the texture of genuine marble. Moreover, ‘Marblesque’, which has a surface layer developed oppositely, captures the glossy sensation ‘the metamorphism by heat’, which multiplies the marble-generation process and the reality of creation of its own and turns metamorphism on the canvas. It can be said that it is a painting of an imaginary scenery.
When I look at the marble carefully, there is nature’s beauty, transcribing ‘the line extracting the law of nature’ like sutras and filling the canvas. In that process, unintentional metamorphism is repeated irrespective of my creativity. This is an abstract expression for me.