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Minoru Onoda Exhibition
Taka Ishii Gallery
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Artists
Minoru Onoda
Minoru Onoda’s first solo exhibition with the gallery features eleven paintings, spanning his early works of the 1960s to the late works of the late 1990s and offering an overview of his creative practice that lasted over five decades.
In the 1960s, Gutai’s art informel style, established with Michel Tapié’s support, had gradually grown stale. To rectify this situation in 1965, Jiro Yoshihara welcomed new members, whose works clearly differed from those of previous members. Onoda was one of the “third generation” members who joined Gutai that year. The new members’ works aimed for a new type of abstraction that would accurately reflect the age of mass production and consumption.
Onoda’s paintings of the 1960s are composed of numerous variously colored and sized dots. Painted on a plywood support with a base mixed of gofun and glue, these works have an organic, undulating surface. Onoda covered the surfaces of these works, which he called “paintings of proliferation,” with dots to objectify this period of rapid economic growth, when industrial parts such as vacuum tubes were mass produced. His paintings became increasingly abstract, and in his works of 1970s, the dots are concentrated inside a circle placed centrally in a square canvas. By limiting the form to the universal shape of a circle, Onoda prevented any interference by chance and imagination, as if to eradicate conceptual factors from his pictures.
In the 1960s, Gutai’s art informel style, established with Michel Tapié’s support, had gradually grown stale. To rectify this situation in 1965, Jiro Yoshihara welcomed new members, whose works clearly differed from those of previous members. Onoda was one of the “third generation” members who joined Gutai that year. The new members’ works aimed for a new type of abstraction that would accurately reflect the age of mass production and consumption.
Onoda’s paintings of the 1960s are composed of numerous variously colored and sized dots. Painted on a plywood support with a base mixed of gofun and glue, these works have an organic, undulating surface. Onoda covered the surfaces of these works, which he called “paintings of proliferation,” with dots to objectify this period of rapid economic growth, when industrial parts such as vacuum tubes were mass produced. His paintings became increasingly abstract, and in his works of 1970s, the dots are concentrated inside a circle placed centrally in a square canvas. By limiting the form to the universal shape of a circle, Onoda prevented any interference by chance and imagination, as if to eradicate conceptual factors from his pictures.
Schedule | Nov 25 (Sat) 2017-Dec 22 (Fri) 2017 Opening Hours Information
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| Fee | Free | ||||
| Website | http://www.takaishiigallery.com/en/archives/22702/ | ||||
| Venue | Taka Ishii Gallery http://www.takaishiigallery.com/ | ||||
| Location | 3F Complex665, 6-5-24 Roppongi, Minato-ku, Tokyo 106-0032 | ||||
| Access | 2 minute walk from exit 1b at Roppongi Station on the Hbiya or Toei Oedo line, 8 minute walk from exit 7 at Azabu-juban Station on the Nanboku or Toei Oedo line, 11 minute walk from exit 5 at Nogizaka Station on the Chiyoda line. | ||||
| Phone | 03-6434-7010 | ||||
| Related images | Click on the image to enlarge it |
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