All posts tagged: visual

A Talk With Artist Noriko Ambe

Born in Saitama in 1967, Japanese artist Noriko Ambe, now living in NYC, is mainly working through a process of cutting which is particularly spectacular. Her works are currently exhibited at The Berkeley Art Museum and Pacific Film Archive (Jan. 31 – May 29, 2016) and at the Everhart Museum (Feb. 5 – June 6, 2016). Let’s meet her and learn more about her project. Moderneast Magazine: What would you like to say to people who don’t know your work and see your pieces, installations and cuttings for the first time? Noriko Ambe: Actually, for those who see my work for the first time, I am not going to guide them how to see it. I’m more interested in what they feel, imagine, or think through my work, and I hope they won’t just focus on the technique of cutting. MM: How do you consider the process of cutting ? What is the intellectual, or artistic, path that guides your work?  NA: Through my cuttings, I’m thinking about, what is time ? Time is essential to my work. Because over time I add more and more paper …

“Origin”at the Galerie Perrotin, Paris

The exhibition currently running at Galerie Perrotin, in Paris, curated by PARK Seo-Bo and called “Origin”, comes back on the eponymous movement which was initiated in 1962 in Korea and which gathered a few graduates from the prestigious Hongik University, in Seoul. His original founders, CHOI Myoung-Young, SUH Seung-Won, and LEE Seung-Jio, who participate in this group show, exploit History, their own human frailties, as well as their recollections and memories of the conflicts they experienced (the Japanese occupation, the Korean War, the 4.19.1960 Revolution) to explore abstraction and render the sensation in its pure form. Their work is a crucial milestone in the history of Korean Art. “ORIGIN” CHOI Myoung-Young, LEE Seung-Jio et SUH Seung-Won Curated by PARK Seo-Bo 9 January – 27 February 2016 at Galerie Perrotin, Paris Mahaut Le Lagadec  

Wei-Hui Hsu

Wei-Hui Hsu, born in 1979 in Taoyuan, Taiwan, studied in the US from 2004, after graduating from National Hsin-Chu University of Education. She currently lives and works in Taiwan. Her full-scale installations and smaller mixed-media pieces aim to develop poetic or organic themes such as the female body or the cell function. She uses various materials that she collected, transforms and shapes them into new forms that contain « special metaphors or meanings ». Her work is particularly striking and vivid as it presents « layers of contradiction and vulnerability » from her own experiences. Indeed, she seeks to express « a kind of pain under the appearance of beauty ». Hsu, through her pieces, is proceeding to a self-examination and she wants the observer to do the same. So, throw yourself into the stunning and delicate, yet impressive sculptures stemming from her series called “Feminine”…   In 2015, she participated in numerous group shows, in London (“Art 15 London”), Taiwan (“Art Kaohsiung 2015”), China (“The Moment: Like Flower”, Yi Chao Museum), or Taipei (“Art Taipei 2015 ”), among others. She also presented …

Kazumi Nakamura

Kazumi Nakamura, born in 1956 in Chiba, Japan, began his career in the early 1980s. He has since become one of the most renown and active painters of his generation, creating paintings that experiment the notion of pictorial space. Some might say that his work lies at the crossroads of different movements such as Japanese post war groups, like Mono-Ha or Gutai, and the contemporary movement Superflat, founded by Takashi Murakami.   Most of his large-scale paintings are made of a multitude of abstract motifs and geometrical patterns, sometimes following disorderly fluctuations, sometimes perfectly aligned. Brushstrokes, angular spatial structures, accumulations, distortions, diagonal grids and infinite lines may sometimes produce some visual illusions by which one becomes quickly captivated. In Nakamura’s work, the explosion of colors is a very enjoyable, and sometimes mesmerizing, vision. Mahaut Le Lagadec  

Kaz Oshiro, the demiurge

  Ordinary three-dimensions objects? Is this what you think? Look closer… It turns out that these objects are actually painted canvas. Yes, really. Born in 1967 in Okinawa, Japan. Kaz Oshiro now lives and works in Los Angeles, in the US. “I see myself as a still-life painter trying to become an abstract painter,” says the artist. He paints directly on the canvas and then recreates trivial objects by piecing these canvases together to make three-dimensional forms. His works represent everyday objects coming from our life, our routine at the office: desks, lockers, boxes, large archive folders, containers or bins. His inspiration is really the daily environment the human is surrounded by, the sets, the things we don’t see anymore, the things we may have forgotten. View of the exhibition “Diffuse Reflection” at Galerie Frank Elbaz, Paris, 2015. Courtesy of Galerie Frank Elbaz. Photo Zarko Vijatovic One may say that his work is a sort of reinterpretation of the ready-made from Duchamp. Except that, in this case, the artist himself paints the canvas he uses …

Chung Chang-Sup

Born in Cheongju, Korea, in 1927, Chung Chang-Sup is a key figure of the Korean contemporary art scene. Died at the age of 84, the painter was then unknown outside his homeland. With iconic figures such as Lee Ufan, Chung Sang-Hwa, Ha Chong-Huyn, Park Seo-Bo or Yun Hyong-Keun, Chung Chang-Sup founded in the mid-1970s the group Dansaekhwa, or ‘Korean Monochrome Painting’. Its members are the precursors of the use of a precise monochromatic palette of colors: mostly white, beige and black. Chang-Sup mainly worked from a thick mulberry fiber paper (hanji), which he shaped and kneaded in his hands onto the surface of the canvas. His minimalistic style was not due to a reduction technique but rather to a layering and accretion technique that renders the canvas vivid, able to draw the spectator’s attention. As Dansaekhwa focuses on the meditative aspect of art production, that is to say the link between materials and creators, or between works and viewers, Dansaekhwa paintings are “essentially incomplete” and require the observer’s eye to fully exist. In this regard, …