![]() ![]() I was told that in this exhibition Ishizuka will present the “story of the beginning” as he understands it. This is palpable in his use of color and in each and every line that is carved into the wood. It appears as though Ishizuka has begun to deliberate about how life has been passed on to him, and how he may pass it on to his children and grandchildren, after becoming a father. That recognition permeates Japan now, reaching everyone, including those who create works of artistic expression. There has been much discussion about this issue in the past, as with Theodor Adorno and Maurice Blanchot, but what has proved important over the ages is the fact that human beings are a species that continues to stand up against major calamities. It seems that each of us, not just those who directly suffered the damage of the disaster, has begun to reexamine our lives, prompted in part by the issues related to the nuclear power plants in Fukushima, embarking on a path to “regeneration.” Many artists tormented over the question “is there any point in creating different forms of art such as poetry and painting after Sanriku and Fukushima?” and were brought to a standstill in their contemplation. I feel as though the way we think about life in relation to our family or animals-what Ishizuka has been expressing through his works-has significantly changed in Japan after March 11, 2011. As such, it is perhaps not surprising that Ishizuka’s works remind us of totem poles. The word “totem” too has an intriguing meaning-the symbol of wild animals and plants that are religiously linked to the tribe or blood ties-which is closely reminiscent of the nature worship and ancient Shinto in Japan. ![]() It is said that totem poles existed fundamentally as house posts, as a primary pillar in a house, but they also represented the history and the family emblem, and even functioned as way of shaming at times. Moreover, the mood of primitive autochtonousness that predates the appearance of human beings, exacerbated by the bulging eyes and the peculiar things coming out of some creatures’ mouths, contributes to the fact the works are seen as something occult. The fact that Ishizuka often carves out animals is probably part of the reason for this. Many have mentioned that Takanori Ishizuka’s works, which are created by coloring woodcarvings, remind them of “totem poles” made by the indigenous people living in the coasts facing onto the Pacific in North America. This exhibition showcases paintings, the medium of expression, which forms the point of origin for Ishizuka’s artistic production, reliefs that combine painting with three-dimensional (wood carving) expression, and video works. On behalf of Ishizuka, the anthropomorphized animals communicate the world that surrounds the artist and his feelings. They are strongly influenced by Japanese mythologies, folklore, as well as satirical caricatures and woodblock prints, in which the artist is interested. In the works of Takanori Ishizuka there appear, one after another, small adorable yet bizarre creatures that are full of life with their vivid and varied facial expressions. Nca | nichido contemporary art is pleased to present a solo exhibition of new works by Japanese Artist, Takanori Ishizuka. Opening reception: Friday 12th September 18:00 – 20:00 Gallery Open:Tue – Sat 11:00 – 19:00 (Closed on Sun, Mon and national holidays) Date:Fri 12th September – Sat 11th October 2014
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