Kounosuke Kawakami
dal 15/5/2007 al 17/6/2007
Segnalato da
15/5/2007
Kounosuke Kawakami
Houldsworth Gallery, London
Paintings and collages. Kawakami has a reverence for the old masters - he wants to achieve the same sense of painting that obfuscates the artist's hand. He wants his worlds to resonate like these paintings of a by gone era, which hang in timeless suspension in sacred spaces.
Migration
Houldsworth presents a solo exhibition of paintings and collages by
young Japanese painter Kounosuke Kawakami from 17 May to 18 June
2007. Running concurrently at APT Gallery, Deptford, Kawakami’s
works have been selected by Matthew Collings and Emma Biggs as part
of Creekside Open Part One during May; and by Victoria Miro as part
of Creekside Open Part Two in June.
Kounosuke Kawakami has a reverence for the old masters – he wants to
achieve the same sense of painting that obfuscates the artist’s
hand. He wants his worlds to resonate like these paintings of a
bygone era, which hang in timeless suspension in sacred spaces. This
is an unlikely declaration – Kawakami’s works seem much more
influenced by the prints and images from his native Japan, than the
chiaroscuro of renaissance scenes. And yet there is a sense of
baroque filigree in his paintings and, in his collages, more than a
hint of a classical sensibility. The historical influences and
aspirations towards a self-effacing perfection found in the hand of
the grand tradition, belies the exceptional immediacy of these works,
which are undoubtedly influenced by the possibilities of computer
collage and CGI worlds. However, the only part the computer plays for
Kawakami is to create a fine analysis of colour palate for each
piece. As is often true the most successful imaginings of the
contemporary world occur in relation to the new media of the age and
not through it. Hence the artist’s hand and eye is ever present in
these intricate collages and finessed paintings, but what they
capture is a world of nightmarish disjointed fantasy – the
experience of the technological extended self. Flat planes of
carefully layered colour sit against the deep perspective of computer
style architectural models. However, these places are very real; they
are inspired by holiday brochure villas and industrial excesses of
dams and factories.
As Susan Sontag said of the cinema of the 60s, at its best there is
“a directness that entirely frees us from the itch to interpret,”
so we may give the same accolade to the best collage and drawing of
the digital age. The medium of painting and collage (especially when
combined) relates so intimately to the interface of the computer
screen, that we are able to put aside interpretation and enter
sensory abandonment. After all there can be no greater Claude Glass
for our age than our own internet browser. Kawakami guides us with
rare pleasure through a melted world, which is so removed from time,
place and the politics of identity that we can only tentatively feel
our way. He becomes the wizard of our dreams, lulling us deeper into
white trees, painterly screensaver back drops and vertiginous
architectures.
Kawakami’s debut at Houldsworth was in Chaotic Order with Hiraki
Sawa, Laura Ford and Robert Platt in October 2006. From 24-29 July
2007, he will be part of Tech-Mac-Mayacom at the Frank Lloyd Wright
Building, Myounichikan, near Ikebukuro, Tokyo. An interview with
Kawakami appears in this month’s Useless Magazine, and he is also
featured in the May issue of Dazed & Confused, Japan.
Private View Wednesday 16 May 6.30 – 9.00 pm
Houldsworth
50 Pall Mall Deposit, 124-128 Barlby Road - London