Naofumi Maruyama “Lascaux and Weather”

Shugoarts

poster for Naofumi Maruyama “Lascaux and Weather”
[Image: Naofumi Maruyama, “Waterfront Scenery (201809)” (2018) acrylic on cotton, 90x145.7 cm]

This event has ended.

Rather than approaching the “demise of painting” as a style, Naofumi Maruyama says he is struck with a sense of urgency regarding the purported end of this art form in contemporary society. The title of this exhibition, “Lascaux and Weather,” also indicates the artist’s awareness of issues related to the act of depiction as a whole.

For the monochromatic works in this exhibition, Maruyama chose pigments made by the Lascaux corporation. His use of these readymade art materials bearing the emblematic name “Lascaux” unexpectedly creates a link between the Paleolithic era and the present day, and calls to mind the fundamental question of why people paint. In an interview conducted with the artist prior to the exhibition, Maruyama gave the following answer to the question, “What does it mean to be a painter in an age when painting as an art form seems to be on the way out?”

“It is necessary to create a way of reading or interpreting painting. When times change, the way that we read painting must also change, and since we still donʼt really understand why people paint, I have the sense that there are still a multitude of options available.”

Without preparing the surface of the canvas, Maruyama makes his works by permeating the wellwetted cotton with paint. The layer of water allows the pigments to spread out freely, bleeding, overcoming boundaries, and eventually becoming fixed to the canvas. To Maruyama, water is not a means of imbuing the work with chance, but rather a way of avoiding decisions – an ambiguous entity that is both freeing and limiting. Like the weather, water is something that constantly dwells between the subject and the object, and the artist and the canvas. Or like a given era or information, it is an important element that intermittently creates an environment or atmosphere. Thus, the technique of using water as a medium to make bleeding and blurring is closely linked to Maruyamaʼs viewpoint and character as a painter.

This exhibition focuses primarily on the ‘Waterfront Scenery’ series, made with Lascauxʼs grey paint. In early July, please keep an eye out for a video interview with the artist that will be uploaded on the galleryʼs website.

Media

Schedule

from July 07, 2018 to August 10, 2018

Facebook

Reviews

All content on this site is © their respective owner(s).
Tokyo Art Beat (2004 - 2019) - About - Contact - Privacy - Terms of Use