Seishu Niihira / Tsuyoshi Higashijima
at ART in PARK HOTEL TOKYO 2016
- Related events
2016. 3. 11 [fri] 12:00pm-7:00pm *Invitee and Press only
2016. 3. 12 [sun] , 13[sun] 10:30am- 12:00pm *Invitee only
Open to the Public
2016. 3. 12 [sun] , 13[sun] 12:00pm- 7:00pm *Admission closes 1 hour prior to the fair closing.
Park Hotel Tokyo 26th, 27th Floor *access http://www.aipht.artosaka.jp/en/access
- Organized by Organized by ART OSAKA Organizing Committee
Niihira is a young painter focused on the development of a surreal, realistic world of painting; he depicts people with multiple time axes and optical theories, focusing on the phenomenon of noise that distorts space and divides the picture. Niihira Monochrome is a large step in epitomizing his debut series “windows upset,” which was shown in 2015 at a solo exhibition at ARTCOURT Gallery. Making use of reflection, permeation and the photorefractive phenomenon of light, “Reflection” combines a conflicting bipolar image with an imperfect double exposure. “Refraction” takes in standards of value from modern society coexisting with our all-digitizing technology, and reduces and shares the act of individually seeing into inciting the desire to perceive. Included is also a continuous artwork referencing a video from the Internet depicting the musical performance of master jazz pianist Bill Evans. Using these as a foundation, Niihira has begun to amass his own world of painting with an experimental approach to the sensation of sight. In the pluralistic realities in this post-internet age, his power of expression invites viewers into unknown, trippy areas. Curators, collectors and many arts-related people look forward to his future developments.
Painter Higashijima draws inspiration from Japanese abstract painting, pursuing both life and the potential in painting in his consistently themed “ambiguous virtue,” where he uses his own body as a barometer in the repetitive introspection of instinctive perception and expressive perception. Beginning with the rise of New Painting producing full-fledged works in NY, he established new ground in Japan as a painter around 1995 by creating works with a form of painting where lines and rectangles produced with profound strokes were suspended in images completely covered in dark blue and silver. Returning from NY in 1997 and holding a solo exhibition at Dai-ichi Life Gallery (Tokyo), his “S” series with its huge sliver images akin to reflective plates makes us realize anew that light enables us to see, and the “FF” and “FMF” series with its simple ink applied to a foundation of vivid blue spray paint and bewitching dark blue spaces combine into “Higashijima Blue”—its overwhelming existence may bring about reform in Japanese tableau. Higashijima has painted ceaselessly since his stay in Berlin (2002-03) where he produced “Erbauer,” and the more recent “Untitled” to reach “Higashijima Blue,” a collection of highly praised works from the path of his activities as an artist transcending the established ideas of art.
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