EXHIBITIONS

Boundaries
A circle and a circle
Two-dimensional and three-dimensional
Intention and the unconscious

There is a “space” between everything.
The boundary is determined by consciousness.

Focusing on awareness determines our view, and
When you change your consciousness, the view you see will also change.

A change of scenery repeats itself.

That is what I call
“The never-ending pursuit of beauty”.

The work of Yuki Yamamoto, in which circles are arranged in stacked transparent layers and combined in an optical illusion, is a true work of art.
Yamamoto combines these “circles” in an illusionary manner, that seem to have the potential to go on forever, like pi, intersecting with the viewer’s consciousness.
By intersecting and interfering with the viewer’s consciousness, the work expands the relationship between the two. Through the viewers’ oscillating engagement between the material and immaterial surface, Yamamoto’s work accentuates such a sensory relationship as the vehicle that generates meaning.

Ai Makita’s work depicts mechanical and industrial imagery in a seemingly organic or biological distortion, thus advancing the dichotomy between humans’ experience of the artificial and natural world. Her work is an organic image created by the fusion of the canvas and the real world.
It grows in the viewer’s mind, like a tree becoming a forest.
The works of Reiko Kinoshita, who weaves intentional actions into irreversible phenomena generated by overlapping coincidences
The work of Reiko Kinoshita, which weaves intentional actions into irreversible phenomena generated by coincidental overlapping, drops the artist’s consciousness while framing a moment of time that already exists.
Like light shining on the earth, she continues to make the “buds” of consciousness sprout in the viewer.
The gathered consciousness, thoughts, and feelings of Yuki Yamamoto, Ai Makita, and Reiko Kinoshita, act much like the “Big Bang” that created our universe
By gathering the consciousness, thoughts, and feelings of Yuki Yamamoto, Ai Makita, and Reiko Kinoshita, an invisible power is unleashed in the consciousness of the viewer. I believe that this is our boundary.
Continuing to search for these boundaries may also be a never-ending pursuit of beauty.
I hope that each of you will be able to feel the “beauty” that you dream.

―Artist Statement―

Yuki Yamamoto

There are things in life that you can control and things that you cannot.
When we encounter unexpected external factors, our judgment and behavior can expand our individual possibilities.
We seek to find richness in ambiguous areas that are difficult to recognize.
However, if we remain in ambiguity, we will simply be accepting a half-formed natural state.
I want to make active choices and decisions whilst in the knowledge that sometimes situations will be unreasonable.
Painting is a place for me to directly experience these things, and it is also a place where I can visualize my hopes.
In a multi-level transparent layer, I layer circles of both colour and voids (holes, nothingness, illusion) that are hollowed out of the colour, repeating the intersections of reality and illusion.
The circles located beyond the layers have a relationship with each other, imparting to them either a law or the destruction of said law.
The circle has the strength of an impersonal and fundamental form. It is both a point and a region. It can be a symbol unto which many things can be assigned.
Colours, through their mutual interaction become entities with a myriad of complex interpretations.
Matter always directs me to the outer edges of consciousness.

Ai Makita

It’s spring in New York and the virus has wreaked havoc.
The sky as seen from the studio window is clear and cloudless. The trees and plants are budding and the birds are singing happily. The humans are in a panic, but nature and the machinations of the living world continue to flow unchanged.
By witnessing this moment of historic infection, I was able to experience the great dynamism of life and the natural processes that keep it alive.
The world as we perceive it is small. But the world that actually surrounds us is vast, incomprehensible and infinitely deep. Trying to understand this is to gaze toward the sublime, a process often accompanied by fear.
In the limited space of the canvas, I endeavour to create images that extend beyond the limits of perception. Inorganic artefacts symbolize human technology, while nature and living things are represented in both the abstract and realistically. I would like to depict a world where artificiality and nature, as opposing structures, melt into each other.

Reiko Kinoshita

I often spread out wrinkled and creased papers and cloths on my desk, not completely new, and spray them with a mist of paint using a spray gun. This process mimics a scene in which sunlight shines upon a mountain range, my original landscape.
When I look around me as if I were looking at a distant mountain with a bird’s eye view, I see that I am surrounded by things that have already been created and have their own nature, purpose and time. I start everything with the idea that there is something, rather than nothing, and I use irreversible wrinkles and folds, sunburn and sensitisation via natural light, words and numbers in books, drawn by time and people, as the gravel for my pictures.