4-9-15, Nishitenma, Kita-ku, Osaka,

Japan, 530-0047

T/F  +81 (0)6 6364 0775
E-mail info@yodgallery.com
Open: 12:00-19:00
Closed: Sunday, Monday,Tuesday




TOP CURRENT FUTURE PAST ARTIST ACCESS
Past Exhibitions


□ Nina Kawamata solo exhibition "Permeation of light"16th Jan- 6th Feb 2016


□ Visarute Angkatavanich solo exhibition "Betta" 9th - 30th April 2016

□ Ryuzo Satake solo exhibition "Small Existence" 18th June - 9th July 2016

□ 5 FILIPINO CONTEMPORARY ARTISTS group exhibition "2664KM" 3rd - 15th September 2016

□ Martin Honasan solo exhibition "Even These Stones Will Cry Out" 17th September - 1st October 2016

□ Takehito Fujii solo exhibition "New Personification: Grand Guignol en Acier" 19th November - 17th December 2016




       Past Exhibitions in 2015 >>>>>

       Past Exhibitions in 2014 >>>>>

       Past Exhibitions in 2013 >>>>>

       Past Exhibitions in 2012 >>>>>

       Past Exhibitions in 2011 >>>>>

       Past Exhibitions in 2010 >>>>>

       Past Exhibitions in 2009 >>>>>

       Past Exhibitions in 2008 >>>>>

□ Nina Kawamata "Permeation of light"
       16th Jan- 6th Feb 2016


 Exhibition Title Nina Kawamata "Permeation of light"

 Artist Nina Kawamata

 Period/Hours 16th Jan- 6th Feb 2016
      Hours: 12:00-19:00
      Closed: Sunday, Monday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception Party
      Jan 16th(Sat)18:00~ at YOD Galler

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com

 Exhibition Outline
YOD Gallery is delighted to present "Permeation of light," the second solo exhibition by Nina Kawamata since 2013.

Kawamata(b.1987) is a painter who specializes in Japanese traditional painting. In her previous works the artist uniquely dealt with the themes such as Utopia, object of worship, nature, and human being through the depiction of imaginative figures reminiscent of a characters or angels from Western mythology, adorned with plants. The techniques of traditional painting enhanced the sublimity of the theme as well as the subtlety and fragility of the image.

In the upcoming show "Permeation of light," Kawamata introduces new series of work dealing with human emotions and sentiments as overarching theme, and new production process combining the traditional and non-traditional media. Kawamata, in search for the new expression, decided to leave the tradition of scroll mounting, and further introduced a layer of resin on the surface. The layer heightens the transparent quality of images, and also its reflective quality produces various impressions in the mind of each viewer, suggesting the idea that there are different values and perspectives for one subject.

The theme such as human emotions, sentiments and psychological subtleties are reflected through the delicate layering of mineral pigments, realized after the removal of scroll mounting. The application on silk, that itself is already transparent, complements the effect. The facial expressions of figures speak of the complexity and sensitivity of human inner-self, and the plants and the crack-like patterns can be read as the reflection of such internal world. According to the artist, the change in the daily life and surroundings has given her more time to confront her own self, provoking thoughts about the issues of human mind and feelings. It seems natural to think that this change may have affected the shift, from the grandiose to the personal, of the overarching theme Kawamata’s works carry.

" Circulation of Life "

Through painting, I want to depict complicated human sensitivities and emotions such as anxiety, insecurity, conflict and dependence, in addition to the ongoing theme "to live."I am the only one who can be myself, and it is hard to share entirely what I feel with others.
One's comprehension of a word, or a sentence,is always slightly off from the other,
as one's sense of values is independent.What is truth and what is fiction?How about myself?Even if everyone is looking at a single subject,
what each of us sense is a different layers of information.This is my attempt to visualize such slippage of senses and feelings.

Nina Kawamata




 Nina Kawamata Profile

1987   Born inIbaraki
2013   Graduated from Kyoto University of Art and Design

[Exhibitions]
2009   "Nina Kawamata solo exhibition",Gallery Suehiro、KYOTO
2010   "ELEVEN Girls Art Collection" Tokyu Department Store, NAGANO
          "A-CTION2010" Gallery of Kyoto University of Art and Design, KYOTO
          "URAWA2010" Iseta Urawa, SADAMA
2011   "ELEVEN Girls Art Collection" Tokyu Department Store, NAGANO
          "Nina Kawamata solo exhibition" YOD Gallery, OSAKA
          "Nina Kawamata exhibition" Muromachi Art Court, KYOTO
          "Gombessa proposal ep1 I am japanese" BAMI Gallery, KYOTO
2012   "Japanese wok" maronie, KYOTO
          "SPURT exhibition" Gallery of Kyoto University of Art and Design, KYOTO 
          " Form of newborn" Isetan Mitsukoshi Holdings Ltd.,OSAKA
          "T-ART in Taichun 2012" TAIWAN
          "Nina Kawamata solo exhibition", Takamatsu Tenmaya, KAGAWA
          "Art Tainan 2012"TAIWAN
2013   "Kansai girl Painting Exhibition " Hankyu Department Store, OSAKA
          "Nina Kawamata solo exhibition", Keisei Department Store, IBARAKI
          " Nina Kawamata solo exhibition", YOD Gallery, OSAKA
2014   "ART KAOSIUNG 2014, CHATEAU de CHINE", TAIWAN
          "ART OSAKA 2014", HOTEL GRANVIA OSAKA YOD Gallery, OSAKA
2015   "Art Tainan 2015", Tayih Landis Hotel, TAINAN

Awards
2008   Venus de Milo Drawing Competition Prize
2010   URAWA2010 SecondPrize

 


*Images from top
"bouquet" 2016
480×590 mm
mineral painting on silk, resin


□ Visarute Angkatavanich "Betta"
       9th - 30th April 2016



 Exhibition Title
      Visarute Angkatavanich "Betta"


 Artist
      Visarute Angkatavanich


 Period/Hours
      April 9th (Sat) - 30th (Sat)
      Hours: 12:00-19:00
      Closed: Sunday, Monday


 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      April 9th 18:00 - at YOD Gallery


 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com



 Exhibition Outline
YOD Gallery is pleased to announce the first exhibition by Thai Photographer Visarute Angkatavanich, “Betta”.

Visarute Angkatavanich graduated from Chulalongkorn University, Thailand in 1993, with a BA in Communication Arts majoring in advertising. After 20 years of involvement in the commercial field, Angkatavanich has started “fish project” inspired by his own childhood memory of a pet fish. Through this ongoing project, he has photographed many and various species of fish.

Angkatavanich gets incredibly close up to capture stunning portraits of living things. His subjects are set against either a stark black or white background as they appear to confront the viewer. He uses perfectly placed lighting to create the dramatic highlights and shadow. His portraits capture these fish in motion, accentuating their flowing large and vibrant fins, and brilliant colors that give personality to each fish. There are meticulous process of preparation and the drama to get a good movement that require advanced techniques of photography. To begin, he choose a fish, examining their tails and colors and other features such as the markings on them. The next step is to set up the lightning. The pictures were taken to create the image that impress the viewer by using a range of lighting techniques. He changes the focus constantly with the movement of fish.
The photos taken with these advanced techniques have a resemblance to the portraits of Dutch paintings in 17th century. Although, Angkatavanich explains that he “just capture the fish as they are”. In what is captured in fully prepared condition, there may be seen what the artist sees “as they are,” as well as his inner self.

The “Betta” series shown in this exhibition has earned Angkatavanich his international recognition and brought him a chance to be one of the world class photographers. Betta fish are native to Thailand and Cambodia. In Thailand, they have historically been the objects of gambling as two male fish are pitted against each other. They also have a long history and culture as a pet fish. Angkatavanich’s “Betta” has been introduced to the world on the package and wallpapers of the iPhone6, upon its debut in 2015. Also they were featured in the well-known websites and international publications from ABC news in USA and Yahoo News, in the recent years, UK’s Daily Mail and The Guardian as well as several international publications such as Italy’s Vanity Fair, and the cover of Thai Airways’ inflight magazine etc.
Blue, Red and Gold, colorful and unique features of betta fish look like a dancer in a flowing dress or a knight with a frag of commence of battle, as if they are projecting viewer’s physiological inner self.
Please take this opportunity to view the work of Visarute Angkatavanich in person at YOD Gallery.



 Visarute Angkatavanich Profile

1971   Born in Thailand
1993   Graduated from Chulalongkorn University, Thailand
          BA in Communication Arts majoring in advertising

[Solo Exhibitions]
2015   "Aquacade", Central Embassy,Bangkok,Thailand
2016   "Symphony of Betta", Central Embassy,Bangkok,Thailand

[Group Exhibitions]
2014   Affordable Art Fair Singapore (May, November)
2015   Affordable Art Fair New York (March)
          Affordable Art Fair Hong Kong (May)
          Thai Nawatsilp, Bangkok International Trading and Exhibition Center (October)
          Affordable Art Fair Singapore (November)
          Art Kaohsiung (December)
2016   Singapore Contemporary Art Show (January)


*Artworks from top
"Spring", 2016年
60 x 75 cm, photography
"Allegro - Red", 2016年
60 x 80 cm, photography
"The Prelude",2015年
80 x 80 cm, photography


















□ Ryuzo Satake "Small Existence"
       18th June - 9th July 2016



 Exhibition Title
      Ryuzo Satake "Small Existence"

 Artist
      Ryuzo Satake

 Period/Hours
      June 18th (Sat) - July 9th (Sat)
      Hours: 12:00-19:00
      Closed: Sunday, Monday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Events
      Artist Talk July 9th 16:00 - 17:00 at YOD Gallery
      Closing Reception July 9th 18:00 - at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com



 Exhibition Outline
    YOD Gallery is pleased to present "Small Existence," the second solo exhibition by Ryuzo Satake(b.1987) since 2013.

    As a student of Japanese Painting, Satake has focused on the translucent quality of the traditional medium, mineral pigments. Taking advantage of this medium, he has established a unique pointillistic method while studying at Kyoto University of Art & Design. Satake has earned a high reputation for his portraits painted in this method, where figures are formed by thinned rectangular color blocks, thinned and layered multiple times. Since he first participated a group exhibition in 2008,Satake has been actively showing works at various group and solo exhibitions, and his portraits have won Kyoto Arts & Crafts Exhibition of Selected Young Artists, Mainichi Newspapers Award(2014), GEISAI#16 Takanori Katagiri Award(2012),ART AWARD NEXT #1 Second Prize(2010).

    Overarching theme or story depicted in Satake’s painting is hard to read. There is scarce information of the subject’s emotion, or the situation he or she is placed. Therefore the viewer is forced to determine the appropriate distance to see the image and its meaning. The image is composed of multi-layered color blocks over a ground. Grains of the water-thinned mineral paint spreads out to show the colors underneath. This translucency speaks of the quality of light, and applied as dotted pattern, even reminds one of pixels. The figures and sceneries emerge out of the sea of lines and color blocks for a moment, but soon diffuse. These subjects are described as “sparse” for the slight sense of space and corporeity they carry. They could be perceived as “anime”, one of the contemporary aesthetic standards of Japanese. They emerge as a result of “unraveling multiple styles of art to the same level, and reconstructing by penetrating all these elements; Japanese and Western paintings, contemporary arts, films and videos, character images in subcultures.*” With this distinct style permitted by his high skills, Satake blurs the relationship and distance between the artwork, the audience, and the artist. This uncertainty brings non-identifiable emotions within and without audience.

    In Satake’s 2013 exhibition, it was refreshing to see the shift of subject from young adults to children. The figures however remained isolated. They are unlinked to any specific image or character; their emotion and corporeality, or intervention of the artist as a producer is subtle. For this upcoming exhibition, Satake seems to have made a huge shift. While keeping the painting style, he introduces and idea of “otherworldly beings” as an overarching theme. The subjects are no longer isolated or disconnected. They are characters of imagination repeatedly appear in Japanease classic stories, mythology and fine arts that many audience already have specific ideas of their own. For instance, "Wind God and Thunder God" and “Dragon,” are subjects dealt in traditional Japanese Paintings, and “Shibaten,” is a yokai monster from Kochi. These beings are also related to the artist’s root: growing up in Kochi, having interests in folklore, and studying traditional Japanese painting. Naturally the artist’s presence become larger in the works. Still, Satake’s pointillism making the subject sparse and iconic may mirror the audience. Satake states, that the nymphs, spirits and yokai “appear monstrous in mythology. But after all, they only exist in human imagination and in size to stay in our brain.” Satake attempts to depict the nature of such existence through deconstruction, re-construction, and through blurring the distance between him, artwork and the audience.

    (*Noi Sawaragi「In the white room with reverberation---Portraits of Ryuzo Satake」)


 Ryuzo Satake Profile

Currently Lives in Kyoto
2012   Graduated from Kyoto University of Art and Design, Graduate School of Arts
1987   Born in Shimanto, Kochi

[Solo Exhibitions]
2015   “Rain, Wind and People,” Cul-Port, Kochi
2014   “Voices of Mountain,” ARTSPACE NIJI, Kyoto
          Someone’s Child,” JIRO MIURA GALLERY, Tokyo
2013   “Paper, Paint and Painting,” gallery near, Kyoto
          Someone’s Child,” YOD Gallery, Osaka
2012   “No place,” ARTSPACE NIJI, Kyoto
          GEISAI#16 Jury Award Winner’s show 2: Takaori Katagiri Award Winner, Ryuzo Satake Solo Exhibition,” Hidari Zingaro, Tokyo
2011   “Room of Others” Cul-Port, Kochi
           “T-JOY Kyoto x Kyoto University of Art and Design, Graduate Students | Ryuzo Satake Solo Exhibition,” T-JOY Kyoto
          Ryuzo Satake Solo Exhibition, ARTSPACE NIJI, Kyoto
2010   Ryuzo Satake Solo Exhibition, ARTSPACE NIJI, Kyoto
2009   Ryuzo Satake Solo Exhibition, Cul-Port, Kochi

[Selected Group Exhibitions]
2015   “Joy of Japanese Painting -Challenge to New Expressions-” Kami City Museum of Art, Kochi
2014   “We Have Studied Japanese Painting Here.,” Kyoto University of Art and Design, Galerie Aube
          “Kyoto Arts & Crafts Exhibition of Selected Young Artists,” The Museum of Kyoto
2013   “Territorial Sea,” AKI gallery, Taipei
          “Pulse vol.3 | TOTOTO,” Gallery PARC, Kyoto
          “TOSA Art Academy Exhibition,” Cul-Port, Kochi ‘05 ~
2012   “Pulse vol.2 |YUKITEKIYU,” Gallery PARC, Kyoto           “Chikurinji Art Experience -Personal Clairsentience-,” Chikurin-ji, Kochi
          “Kawaii+Grand Prix Exhibition,” Spiral Garden, Tokyo
          “Kyoto University of Art and Design, Graduate School of Art, MFA show,” Kyoto University of Art and Design, Galerie Aube 2011   “ZOU-Japanese Painting or Not-,” CASO, Osaka
          “Pulse,” gallery PARC, Kyoto
          “SPURT 2011,” Kyoto University of Art and Design, Galerie Aube
          “T-JOY Kyoto x Kyoto University of Art and Design, Graduate Students | Debut Exhibition,” T-JOY Kyoto

[Awards]
2014   “Kyoto Arts & Crafts Exhibition of Selected Young Artists,” Mainichi Newspapers Award
          “Concours des Tableaux,” Grand Prix, (received in ’14, ’11, ’09)
2012   “GEISAI#16,” Takaori Katagiri Award
2010   “ART AWARD NEXT #1,” Second Prize




*Images from top
"Dragon", 2016年
194 x 261 cm, mineral paint on paper, wood panel
"Shibaten", 2015年
162.1 x 162.1 cm,mineral paint on paper, wood panel







□ 2664km - 5 Filipino Contemporary Artists –
       3rd - 15th September 2016





 Exhibition Title
      2664km - 5 Filipino Contemporary Artists –

 Artist
      Renz Baluyot, Alexander Lim, Jason Montinola, Nix Puno,
      Kaloy Sanchez

 Period/Hours
      September 3rd (Sat) - 15th (Thu) 2016
      Hours: 12:00-19:00
      Closed: Sunday, Monday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      Opening Reception September 3rd 18:00 - at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com




 Exhibition Outline
    YOD Gallery is pleased to present "2664km - 5 Filipino Contemporary Artists -," a group exhibition by 5 Filipino Artists for the first time.

    Each country has its own set of histories that have molded and continuously shape its current beliefs, value systems, and general identity as a society. How does a nation portray its collective identity when placed within the confines of another? When we traverse the distance to be in a destination all foreign and unfamiliar to us, what responses and environmental stimuli can we encounter, and how does it translate to our perception of the world around us?

    2664km is a group exhibition in Japan consisting of works by five young Filipino contemporary artists. The title derives itself from the actual distance between the cities of Manila and Osaka. This exhibition attempts to investigate how the concept of distance and its relativity reveals the similarities and differences of two nations’ cultures, tradition, and art practices. This aims to serve as a platform for observation and interaction between two neighboring countries in hopes of linking the culture and traditions of both in a harmonious and creative way.

    Albeit being both located in the Eastern Asia region, the Philippines and Japan do have a couple of well-defined differences. For one, the Philippines has always been strongly influenced by its past colonizers and other Asian neighbors, while Japan was left to its own devices sharing limited similarities with China, particularly their old language. The Filipinos built their identity by combining their own with their influencers’ and merging different cultures into a beautiful one that they can call their own. They celebrate feasts that were once unknown in their pre-colonial days, they were able to capture and imbibe new cultures and ways of living, started new traditions, and mixed all of these into a hodgepodge uniquely Pinoy. This act of owning another’s ethos and transforming them to be more apt to their customs became a common practice including in their art-making ever since the early 19th century.

    This strong western influence in creating art is apparent with the works of Jason Montinola and Alexander Lim. The imageries and techniques these artists use have a strong resemblance with famous Italian paintings from the past but with a contemporary touch. This fascination to that certain kind of drama and figuration delivered through surreal and dream-like compositions bridges the distance between the familiar and the strange inviting the viewers to a constant state of curiosity. Using the classic medium of oil paint applied on canvas, they both offer us a representation of the anonymous that introduces its bare self to the viewers. Some of their works may be light and honest retelling of an old piece but at times they tend to bring the audience to a dim and grotesque sublime.

    Representing the seemingly dark side of one’s subconscious and provoking them to enter our reality –this is an attribute shared by Kaloy Sanchez’s works but his employs a more specific approach. His works focuses on profound desires and unease we are so accustomed to when faced with haunting memories. The feelings emitted seemingly creeps to our consciousness as a slow and deep drone that may even generate more recollection of memories.

    There is always a feeling of nostalgia when we look back at places we’ve been to and places we love. This longing and the melancholic familiarity that it brings are subjectively triggered by countless things around us, even in places and environments unknown. However, despite the gloom of remembering good old times in these places, we can also look at a fresh perspective that exposing oneself to a much different environment also lead to enriching encounters. Japan is an hour ahead of the Philippines. It may be small and unnoticeable a detail to some but to romantics such as artists, they mean so much more than a quick escape of breath. Time is always hand in hand with space –this is what science tells us. As with this show and the works of the artists in it, time plays a role of utmost importance. Time as a related concept of distance is where the works of Nix Puno and Renz Baluyot revolve around.

    Besides being a visual artist, Nix Puno also is a practicing musician. He is at most times immersed in the world of the art and music scenes in the Philippines. With this exposure, a first-hand experience on the contemporary media and pop culture is natural and not surprisingly is evident in his works. These paintings are silent and still, a snapshot, a documentation of the constantly changing pop culture and media and how they relate to their earlier forms. His works also aim to be inquisitive with how moments can be transformed to portable forms in digital media, or pixels, “likes” and “shares” on internet, and how people respond to such changes.

    Renz Baluyot, with his own visual language, tackle these changes brought by time. His works attempt to portray and inquire on how the environment reflects the intentions of people, their ways and conditions of living, and how the elements of contemporary urban society turns to rust and eventually returns to dust. The imagery and presence of urban decay, as common to all modernized cities, mirrors the cycle of living and death with that of its inhabitants. Decay is a marker of distances, of cultures and histories, of time and places. Decay, like its cousin death, is present and familiar with all of us.

    Art in its own way is a creation brought to us by different entities. Artworks echo the culture and identity of the one who made them. It forms an interesting dialogue when works invite diverse perceptions to convene and examine similarities and differences between two nations. With this exhibition, art bridges the distance–like how it has always done since its history began. Please take this opportunity to view the works in person at YOD Gallery.



□ Even These Stones Will Cry Out - Martin Honasan Solo Exhibition -
       17th September - 1st October 2016





 Exhibition Title
      Even These Stones Will Cry Out - Martin Honasan Solo Exhibition -

 Artist
      Martin Honasan

 Period/Hours
      17th September - 1st October 2016
      Hours: 12:00-19:00
      Closed: Sunday, Monday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      Opening Reception September 17th 18:00- at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com




 Exhibition Outline
    YOD Gallery is pleased to present "Even These Stones Will Cry Out," a first solo exhibition by a Filipino Artist Martin Honasan (b.1976, Quezon City, Philippines). Honasan has been receiving much attention for his unique abstract portraits focusing on face, where paint, canvas and human face are treated as equal components. With Psychological theories such as Gestalt and pareidolia that underlie, his works question morality, spirituality, existence and meaning through the image generated by the mind and sight of the audience.‬

    In June 2016, as a YOD artist in residence, Honasan spent a month in Osaka working and living with his family. What kind of effect did the life in Osaka have on the artist? Please take this opportunity to see it in person at YOD Gallery.

    Artist Statement

    When we arrived in Shōeichō, a town in Neyagawa-shi, a city in Osaka-fu, Japan, its intricacy was immediately apparent, but there was also an effortless simplicity about it. In any new country I visit, the first thing I notice is the texture of the terrain -- the land and the structures that have flourished on its surface. The physical arrangement of a city and the flow of its traffic give me a basic sense of the layers of systems in place and the sensibilities of its people. I encountered a wide variety of locals in Osaka Prefecture: well-dressed business men, women with babies, and some very agile elderly people — most of them were riding simple everyday bicycles called mamachari, or "mom's bicycle" in English. I was amazed at the specific layers of history, refined through many generations, culminating in a particular kind of gentleness and sophistication that was striking to my outsider point of view.

    During this stay, a Japanese friend brought me to a temple in the middle of Yodoyabashi, one of the busier cities within Osaka-fu. He says it is where he goes for some quiet, and to pray for success. I thought of the concept of "worship," which is often associated with temples, priests, and rituals. In my own belief system the person who worships becomes a temple, and worshippers gather together as a church -- worship is what one gives to that which is most worthy and valuable. In many ways, all people are temples, and we build our lives around that which we value the most. The worshipped would be at the core of one’s identity, and at the forefront of one’s praises.

    The paintings in this series are metaphors for one of the most universal of human impulses, the act of worship and how it shapes our identity. My work begins with damage as its starting point. Almost every bit of painted scrap of canvas collected from my workspace is recycled and added to the succeeding series of works, producing new sheddings in the process. I brought these fragments to Neyagawa-shi and combined them with new materials I bought in Osaka. With blade and shears, I puncture, cut up, and tear apart portions of fresh canvas and older paintings. These scraps are folded, crumpled, and collaged onto new surfaces. They are painted with broad, arbitrary strokes that progress into narrower, delicate brushwork until recognizable elements of a human face emerge.

    We use our faces as instruments to express our most immediate and internal emotions. In this series, I used elements of my own face, and people close to me, to convey the intimate nature of worship and our experiences.


    As he was drawing near—already on the way down the Mount of Olives—the whole multitude of his disciples began to rejoice and praise God with a loud voice for all the mighty works that they had seen, saying, "Blessed is the King who comes in the name of the Lord! Peace in heaven and glory in the highest!" And some of the Pharisees in the crowd said to him, "Teacher, rebuke your disciples." He answered, "I tell you, if these were silent, the very stones would cry out." (Luke 19:37-40 ESV)


    Even These Stones Will Cry Out is based on a passage from the Book of Luke in the Bible. When the Pharisees wanted to silence Jesus’ followers, he responded that all creation was made to praise God. The works in this exhibit are a meditation on the human impulse to worship. The paintings in this series are metaphors for worship, prayer, and other acts of faith leading to the revelation of one’s identity.

    ― Martin Honasan




 Martin Honasan Profile

    Martin Honasan (b.1976, Quezon City, Philippines) is a graduate of the Ateneo de Manila University with a Bachelor of Arts degree in Interdisciplinary Studies (Psychology and Communication Arts clusters). He worked as visual artist and art director in advertising (1999-2001), then as managing partner in his own design firm (2001-2004) prior to pursuing painting full-time. Honasan is a Philippine-based artist who works with acrylic and watercolor and has participated in various group shows and individual exhibitions since 2005 in the Philippines, Hong Kong, and Japan. He has also participated in various local and international art conventions such as Art Fair Philippines, Art in the Park, Bazaar Art Jakarta, and Manila Art. He has mounted nine solo exhibits since 2011, one of which was at the Cultural Center of the Philippines in 2015. He is currently preparing for his 10th solo exhibit at the YOD Gallery in Osaka.


[Solo and Group Exhibitions]
2016   Art Fair Philippines, YOD Gallery X Kogure, Art Verité, West Gallery
          The Link, Parkway Drive, Ayala Center, Makati City,Feb. 18 - 21
2015   An Other (solo exhibit), Vinyl on Vinyl, 2F warehouse 2, 2135 Chino
          Roces Ave., Makati City, Oct 21
          Shadows of Things to Come (solo exhibit), Boston Art Gallery, 72
          Boston Street, Cubao, Quezon City, Oct. 10
          Everything is Created Twice, Cultural Center of the Philippines, Main Theatre Building, Roxas Blvd.,
          Pasay City,May 14 - June 14
          Art in the Park, Art Verité, Boston Gallery, Vinyl on Vinyl, Makati City, March 22
          Art Fair Philippines, CANVAS, The Link, Parkway Drive, Ayala Center, Makati City, Feb. 5 - 8
2014   Alay 17 (group show), Boston Art Gallery, 72 Boston Street, Cubao, Quezon City, Dec. 7 - 21
         Extended Play (inaugural group show), Vinyl on Vinyl, 2F warehouse 2, 2135 Chino Roces Ave., Makati City, Aug 27
         2014 Soil (6th solo exhibit), Boston Gallery, 72 Boston St, Cubao, Quezon City, Aug 23 - Sept. 8
         Filipino Myths & Legends, Center for Art, New Ventures, & Sustainable Development,U.P. Vargas Museum, June 17 - July 15
         Asia Art Contemporary, Floren Gallery, Conrad Hotel, Hong Kong, May 15 - 18
         Art in the Park, Art Verité, Boston Gallery, Vinyl on Vinyl, Makati City, March 23
         Singularity (5th solo show), Art Galileia, Fort Pointe Building, BGC, Taguig, Feb. 28 - March 14
2013   Alay 16 (group show), Boston Art Gallery, 72 Boston Street, Cubao, Quezon City, Dec. 7 - 21
         Everything The Same Way (group show), Ysobel Art Gallery, BGC, Taguig, Nov. 28 - Dec. 11
         Zoology of a Concrete Jungle (group show), Gallery Orange, Bacolod City, Sept. 7 - 30
         The Weight of Glory (4th solo exhibit), NOW Gallery, EcoPlaza Bldg., Makati City, Sept. 4 - Sept. 17
         Love Stories (group show), Galería Paloma, July - August
         The Night Nebula (group show), Paseo Gallery, A.R.T. Center, Megamall,Mandaluyong City, July 10 - 24
         The Human Hide (3rd solo exhibit), The Crucible Gallery, Megamall, Mandaluyong City, July 2-14
          Art Fair Philippines, Paseo Gallery, The Link, Parkway Drive, Ayala Center, Makati City, Feb. 7-10
2012   Then We Shall See (2nd Solo Show), Ysobel Art Gallery, Serendra, BGC, Taguig, May 21-June 9
         Pure Imagination (group show), Altromondo, Greenbelt 5, Makati City, Sept. 4 - 14
         After Caravaggio (group show), NOW Gallery, EcoPlaza Building, Makati City, Aug. 4 - Sept. 1
2011   Digging In The Dirt (a solo exhibit), Yellow Door Gallery, Power Plant Mall, Rockwell October 7-22
         Manilart '11, Artes Orientes Gallery, NBC Tent, Bonifacio Global City, Taguig, July 16-19
         Ten, (group show), Ysobel Art Gallery, Serendra, BGC, Taguig, May 21-June 9
2010   Phases (group show), Yellow Door Gallery, Power Plant Mall, Rockwell, Sept.25
2009   Manilart '09, Quattrocento Gallery, NBC Tent, Bonifacio Global City, Taguig, July 16-19



*Images from top
"Melting Pot", 2016
48 x 36 in, Mixed Media
"What Cannot be Shaken", 2016年
40 x 30 in, Mixed Media


□ Takehito Fujii"New Personification: Grand Guignol en Acier"
       19th November - 17th December 2016





 Exhibition Title
      New Personification: Grand Guignol en Acier

 Artist
      Takehito Fujii

 Period/Hours
      19th November - 17th December 2016
      Hours: 12:00-19:00
      Closed: Sunday, Monday, Tuesday

 Venue 
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com
      www.yodgallery.com

 Reception
      Opening Reception 19th November 18:00- at YOD Gallery

 Contact
      YOD Gallery
      4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-004
      T/F +81(0)6 6364 0775 E-mail info@yodgallery.com




 Exhibition Outline
    YOD Gallery is pleased to present " New Personification: Grand Guignol en Acier," by Takehito Fujii (b.1968), his first solo exhibition in Kansai area.

    Fujii is an iron sculptor actively producing and showing his works since the 90’s. His craftsmanship and unique treatment of subjects have received wide recognition. In one of his outstanding series of work “Sculptural Punishment - Iron Masks,”(*) well-known faces are transformed into iron masks as representations of “wealth, power, and violence,” by-products of modernization benefited by iron. This series won him a Semi-grand prize at Taro Okamoto Memorial Award in 2005 (with no grand prize winner), leading to a New Artist of the Year Award at Aichi Prefecture Art Culture Recommending Award in 2008.

    Fujii’s works are full of paradox. “New Personification” and “Sculptural Punishment - Iron Masks,” the two representative series speak for themselves. Both series appear as the hand-forged iron sculptures in the forms of dolls and masks, literally what has been rejected from the concept of Modernism. Where they take the viewer, however, is the opposite end from what they first appear to be. “Sculptural Punishment - Iron Masks” is a forging of one’s murderous urge. Looking into the production process, the viewer would realize he or she is lead to the realm of sympathy toward the subject surpassing the positive/negative feelings considering the amount of labor artist went through, almost equal to that of actual murder. “New Personification” series presents lovely iron dolls as the figures of cruelty and ruthlessness. They show no cruelty or ruthlessness in their physical expression, but they are so because of the material and the process they are made with. Fujii’s paradox has convincing quality that is different from mere arrangements of symbols, a typical method of leading to the possible paradox, or from an irony that rests firmly on the accepted notion. It is the intensity of the work and skills developed as a result of the artist’s confrontation with the paradox.

    At “Grand Guignol en Acier,” the first solo exhibition at YOD Gallery, new dolls aligned with “New Personification” will be on view. Please take this opportunity to view the work of Takehito Fujii in person at YOD Gallery.

- Artist Statement -

Grand Guignol en Acier

    Grand Guignol, a grim theater jumble of decapitation and blood-splatter started at the end of 19th century, France. I have no intent to present this show as a mere horror. What I prepared are modestly altered iron dolls, of innocent girls.

    Why Grand Guignol, then? I call it so because the encounter of material and essence, or iron and dolls itself is cruel, the worst in the past several centuries.

    Before modern era, idol and fetish as objects of worship, the ancestries of dolls were the center of communities. Comes the age of iron and the Industrial Revolution, the objects of worship were replaced by economy and science. Accordingly, the iron and the doll now are the elements of the future and the past, the invader and the invaded, the antipodes fighting over the center of the world. The iron dolls of delicate build are forced to take in such fact, and to live ever after under a tearing force of conflict.

    In the production process, though it is vital to maintain the quality and strength achieved by traditional handwork, I try to balance those two attributes so neither element take over the image. If the purpose of my production were mere denotation, it would not require this much of labor. The labor is required for visualizing what is beyond the conflict in the form of physical objects

    The result may suggest another possible “iron age,” as we can think of the robot animations especially popular among boys since the 50’s. In other words, the “iron puppet show” as an archetype of yet undefined collective unconscious.

    Takehito Fujii 2016.10.3




*Sculptural Punishment: On Iron Masks (Translation by Stan Anderson)

    Why do I make faces out of iron?

    Iron is a basic material in the modern and contemporary world. Modernization has been carried out by expanding the production of weapons, cities, and motor vehicles made of iron and steel. Modernization has resulted in great concentrations of power, created vast differences between the wealthy and the poor, and generated fear, hatred, and arrogance. These mental states also have their origins in iron. Therefore, objects and conditions existing today that are related to iron and steel are products of the imagination that have been stimulated by this material. Human beings have put iron into the form of battleships, swords, and skyscrapers. The conditions of modern or contemporary life are based on iron and steel, so the identities of people that have been achieved or maintained in modern times are also expressions of this material. Thus, when I use iron to form human faces, they have a self-evident familiarity for modern people that cannot be obtained with other materials such as wood, stone, or bronze.

    Light “Punishment”

    I make my face sculptures by heating a steel plate with a burner and hammering it into shape. As a result, it is all surface, empty on the inside. I hammer both the front and back of the plate. The characteristics that originate on the inside of the mind or spirit are beaten out and formed from the back (inside) and those that are caused by external or social factors are beaten and formed on the surface (outside).

    In the same way that the face of an actual human being is formed, individuality comes into existence on the surface, on the border where inside meets outside. This condition reflects the method of fabrication. Tracing the ups and downs of the surface, which can be seen as the site of existence of the individual, becomes a virtual experience of the individual’s life. This process arouses a sense of affirmation that transcends the good or evil attached to the material existence of the person, a sense that may be close to a kind of love.

    Whether sculpture “becomes” the person on which it is modeled depends on a feeling that is close to a desire to commit murder. While using a hammer to beat out the sculpture in the form of a person’s head, the degree of synchronization between the image and the model increases. There is a certain point at which it is possible to have the illusion that the violent action is intended to destroy the person who is the model, and at this point I can bring the process to an end.

    In order to create this kind of sculpture, it may be necessary to exert the same amount of effort that would be required to kill someone. The image can only be completed by arriving at a place where “affirmation of existence” (which is close to love) and “murder” become synonymous with “making.”

    With these face sculptures, I am attempting to reproduce the sensation of an interval in which human beings make direct contact (an interval of intimacy or an interval in which it is possible to stab the other person directly). All that exists in this interval is a “simple individual” or “full-sized life,” which can be seen or observed transparently from any direction, with no relation to social position or power. This way of working cancels out the identity given to “steel” by showing the form of the model as a medium, and is also an act that reduces it to “full-sized life.”

    The image is formed, beaten to death with a hammer, and placed in a position where it can be seen from above and from all sides. This is the “light punishment” I visit on the models.

    In the completed work, the iron masks that comprise the sculptural punishment, the separately created heads are placed in a line, reminiscent of the way the heads of executed criminals were displayed to the view of the public in the past.

    There is a great difference between the exposed heads of executed criminals and monuments in honor of people who have rendered great service to the community. However, I believe that the people who are put on display have the same internal reality, only differing by age and place of origin.

    My work is a form of homage to monuments made in honor of great people, which make up the majority of the sculpture existing in the world.

    Takehito Fujii June 14, 2003
    Revised April 28, 2004




 Takehito Fujii Profile

1967 Born in Nagoya, Aichi Prefecture
1990 Graduated from Nihon University College of Art


[Solo Exhibitions]
2016  [New Personification Vol.5 GIRLSLIFESMITH] Takashimaya Nihonbashi Department Store, Art Gallery X, Tokyo
2012  [New Personification Vol.4 To what extent are we not iron?] unseal contemporary, Tokyo
2009  [Double Irony] Gallery M contemporary art, Aichi
2008  [On Iron Masks Extended] Striped House Gallery, Tokyo
2007  [New Personification Vol.3 Dolls at the Melting point] Striped House Gallery, Tokyo
2005  [New Personification Vol.2 PSEUDO METAL BOSSA] Striped House Gallery, Tokyo
2004  [Sculptural Punishment: On Iron Masks] Striped House Gallery, Tokyo
2003  [New Personification] Striped House Gallery, Tokyo
2002   [Exculpture] Gallery APA ,Nagoya
         「Exculpture」PORT des ART, Tokyo
2001  [Exculpture] Gallery APA, Nagoya
          [Solo Exhibition] Art Collection Nakano, Nagoya
1996  [Small Works] Gean art speace, Saitama
1992  [Solo Exhibition] Atagoyama Gallery, Tokyo


[Selected Group Exhibitions]
2015  [for humans] JIRO MIURA GALLERY, Tokyo
         [現在幽霊画展] (現在=current, 幽霊=ghost, 画=image, 展=exhibition) TAV GALLERY, Tokyo
2014  [The Artists of the Taro Award II] Taro Okamoto Museum of Art, Kawasaki, Kanagawa
2013  [SUMMER SHOW 2013] Takashimaya Nihonbashi Department Store, Art Gallery X/ Takashimaya Shinjuku Department Store, Art Gallery, Tokyo
         [Melting Fish Continued Reality] Kyoto Seika University Gallery FLEUR/Gallery PARC, Kyoto
2011  [Geki Totsu-Ten] unseal contemporary, Tokyo
2007  [City_net Asia 2007] Seould Municipal Museum, Korea
2005  [The 8th Taro Okamoto Award for Contemporary Art Exibition ] Taro Okamoto Museum of Art, Kawasaki, Kanagawa
2004  [The 7th Taro Okamoto Award for Contemporary Art Exibition ] Taro Okamoto Museum of Art, Kawasaki, Kanagawa
2002   [KOREA MASS/JAPANESE FIGURE] MOK AM MUSEUM, Korea
1999  [New Century Doll Exhibition] Striped House Museum, Tokyo
1998   [WORK'S 98] Yokohama Citizens Gallery (participated also in 99 and 2000), Kanagawa


[Awards]
2008 Aichi Prefecture Art CUlture Recommending Award - New Artist of the Year Award
2005 The 8th Taro Okamoto Award for Contemporary Art - Semi-grand prize (no grand prize winner)
  1999 New Century Doll Exhibition - Akiko Hyuga Award
  1990 Nihon University College of Art - Faculty Award

 




*Images from top
"Away from the Sea 7 /Phenomina", 2014
653×178×160 mm, iron,gauze
Swimsuite by Tomoko Fukuda"

"TransferStudent/Speed Bread", 2016
700×310×745mm, iron, titanium, plastic





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