Immer noch aus 'Lob des Schattens' von Tanizaki Jun'ichiro:
"(...) der Eindruck drängte sich auf, es wimmle von winzigen, aschenartigen Körperchen, und jedes einzelne Teilchen glänze in allen Regenbogenfarben."
Still reading 'In Praise of Shadows' byTanizaki Jun'ichiro:
"It was a repletion, a pregnancy of tiny particles like fine ashes, each particle luminous as a rainbow."
Aus 'Lob des Schattens' von Tanizaki Jun'ichiro:
"Die Menschen von heute sind längst an die Helligkeit des elektrischen Lichts gewöhnt und haben vergessen, dass es je eine solche Dunkelheit gegeben hat. Insbesondere jene "sichtbare Dunkelheit" der Innenräume hatte (...) etwas Glitzerndes, Flimmerndes an sich, erzeugte leicht Halluzinationen und wirkte in gewissen Fällen unheimlicher als das Dunkel im Freien."
'In Praise of Shadows', Tanizaki Jun'ichiro:
"(...) but the man of today, long used to the electric light, has forgotten that such a darkness existed. It must have been simple for specters to appear in a “visible darkness”, where always something seemed to be flickering and shimmering, a darkness that on occasion held greater terrors than darkness out-of-doors."
Those two are commission works for my friend's two daughters. It's actually quite difficult to paint a baby without turning out kitschy right away. I really don't know if I succeeded.
I will also need to ask them what they think about it- maybe after 18 years?
“ It doesn’t take much. Things that have a form will all disappear. But certain feelings stay with us forever. ”
[ South of the border, west of the sun, Haruki Murakami ]
Cherry blossom is so famous for being this very temporary pleasure. Maybe I got trapped in a time loop because I
experience this phenomenon already the second time this year.
My paintings don't follow that fever. I paint them to last longer than my time.
Will they make it?
How to exhibit video art and paintings in the same space?
Paintings need light for the colours to actually be seen, but video art displayed on screens or projected prefer a dark room,
In fact I feel that often the solution is a compromise turning lit up gallery spaces from white cubes to grey cubes.
I don't know if I'm satisfied about that solution. But I'm definately convinced that seperated video rooms laid out with black musty textile and no ventilation is even worse! But maybe it's better for my paintings..
[ eastward, inward and homeward ] are the directions I recently explore.
Travelling to Hong Kong was an exception making my way westwards.
I wanted to learn more about the hot asian art scene and found what I was looking for: interesting solutions how to display and frame paper works and some new ideas about the colour range of brown and darker shades.
beyond the pale __Munich
Neither could I attend the opening nor my own exhibition, but some nice people send me pictures to enjoy.
The gallerist chose to hang three of my plaster prints which I though was a good choice!
beyond the pale __Essen
Photos from the exhibition in Essen from April 2014 where I showed all six plaster prints.
It was the first time I joined an artist talk. But people were kind and listened to me all the way through.
Need? I'm not quite sure if that even counts as question.
But everyone needs hospitals and one hospital needs art!
There is a Japanese private hospital with a concept: first they buy art. At arrival patients may chose their favorite drawing/painting to hang in their room during their stay. At departure they even might want to buy that piece to take home- as memory?
I don't know what context will come to my drawings, but: anyone can be in hospital, anyone can see my drawings!
( Maybe more people go to hospital than to museums? No no- that's too far out!! )
Yesterday I visited Katsushi Shimabukuro's pottery studio and gallery space on Miyagi Island OKINAWA .
I admit to have a not so secret weakness for pottery. The colors of the glaze melt somehow more genuinely together than I ever saw it on paintings.
Katsushi Shimabukuro and his wife even invited for tea.
This group exhibition is a collaboration between two galleries: Galerie 52 in Essen and Galerie Dina Renninger in Munich. In springtime 2014 the show was held in Essen- upcoming thursday we celebrate the opening in Munich. Except me- I celebrate from Japan of course.
I hope it can be a succesful show and a good start in my art year 2015!
My version from a fresco painting using Japanese copying technique. To get the colors right I was adviced to heat the pigments in a pan to wait for the right shade. to come- delicate!
These are two man from the Takamatsuzuka Tomp painting, a National Treasure from the end of the 7 th century. And from what I could understand from my poor Japanese, the condition of the original fresco is yet unstable.
For me the most diffucult part was to learn about "beautiful lines" and to wait (all the time) for the colour to dry and then to find out how much darker ( or ! ) brighter they actually appear.
Here I share last weeks status quo of my woodblock printing preparation. The woodblocks are from cherry tree and I will try to use its "beautiful lines" ( ! ) to - what? Maybe it looks like mountains?