Media
Themes of their work
How it relates to your work
Setouchi Triennale
https://setouchi-artfest.jp/en/artworks-artists/artworks/shodoshima/259.html
 | |||
| Artwork No. sd17
Jio Shimizu - Element
Electronic Installation
It seems that production, duties and everything has come to a halt at the factory. The artist has taken the patterns of movement unique to this place and extracted phenomena that typically go unnoticed to restart it as a new cyclical model for a space where activity has ceased.
The work shares computers and installation with my own practice.
 |
Glass Installation
In Ketto community, Akiyama-go, located deep in valley, one can find the remains of a branch school of Nakatsukyo Primary School which was closed down 11 years ago. A pool remains in the corner of the grounds. It is a place where pupils used to swim, play and shout for joy. When looking up at the surface of water from within the water, the reflected light and scenery is seen as flickering. I wanted to reproduce this flickering scenery which many pupils would have seen, by pouring water on the glass. Fortunately, I was able to pump up water from a water source in the mountain's breast by using water pressure created by the difference of altitude. One day, the water for the glass stopped completely. It was because the population increased during the summer vacation and people were consuming large amounts of water. As a result, temporary water shortages occurred in this region. The incident made me feel the link between this artwork and the life of this region.
As a link to my work the "changing point of view"
Kohei Nawa - Biomatrix
https://www.scaithebathhouse.com/en/exhibitions/2018/09/biomatrix/
Merging the minimum constituent unit for both digital imagery and biological organisms, “PixCell" (Pixel + Cell) is conceived as the key proposition of the work by Kohei Nawa. Devising the use of new materials and techniques, Nawa activates artificial materials with chemically manufactured interfaces evocative of living organisms. This incorporation of the natural and the artificial conjures a renewed animistic sensibility that challenges our visio-tactical experiences. Given that nature and artifacts are assembled from particles, his sculpture makes no distinction between solid and liquid, and is shaped according to gravity and other universal laws of physics. Just as living organisms behave according to their DNA, particles follow their own innate properties. Nawa engineers conditions that allow particles to begin auto-generative processes, and to sculpt the exhibition space continuously.
Central to this exhibition is Nawa’s long-standing sculpture series "LIQUID" (2003 - ongoing): an installation of endless cycles of eruptive cell bubbles emerge on the surface of a liquid compound of silicone oil, metal powder, and pigment. These bubbles spring up and disappear one after another—each of them articulates a unit of the phenomenon caused by particle motion, and constitutes an element of its entirety. This closed circulation of the liquid evokes magma and blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer's expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and a flat circuit for the "Pixel", which infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as the sporadic and simultaneous effervescence and plosive sounds breaking the surface tension. Viewers are immersed in an audio-visual sensation brought by a series of these events.
For Nawa, the white cube has been a site for enacting primordial natural phenomenon using today’s synthetic compounds. This can be seen in the linear black oil that continues to flow (“Force” 2015-), and a multiplied expanse of foam grown to an oppressive scale (“Foam,” 2013). Striping all materials down to the molecular level, his elemental sculptures visually manifest physical laws, appearing as biological membranes that bind our perception with the substance. Consolidating conceptual oppositions such as the real and the virtual, the micro and the macro, the natural and the artificial, Nawa in this exhibition challenges the boundary between life and the artifact.
Open-view Storage at Hara Museum ARC (artworks are regularly changed). Photo: Sadamu Saito
No comments:
Post a Comment