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Ryu Takeda + Kazuki Oishi "Hannah"
parcel
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Artists
Ryu Takeda, Kazuki Oishi
Ryu Takeda, born in 1989 in Ibaraki Prefecture, graduated from the Sculpture Department of Musashino Art University's Faculty of Fine Arts in 2016. Currently, he conducts his creative activities in an atelier in Tokyo.
After working with various media such as photography, video, and performance, Takeda has recently focused on creating and presenting painting works. His paintings are crafted by emphasizing or covering up images evoked by coincidental stains or scars. The imagery often reflects his experiences in the rural forests where he spent his childhood, not only through visual but also auditory, olfactory, and tactile senses. The background of this creative approach can be traced to Takeda's interest in the origin of Chinese characters found in oracle bone script. He aims to express the sensation and emotion of "Karinoware," a term from the novel "Tora-kari" by Atsushi Nakajima (1934), by being conscious of the nuances in the shades of ink. The pursuit of the color of ink has been persistent in his previous works, where black or colored lines carry meanings beyond the characters' intended sense.
Kazuki Oishi, born in 1993 in Yamaguchi Prefecture, completed his master's program in the Department of Fine Arts at Musashino Art University's Graduate School of Sculpture in 2018. Since August 2019, he has been engaged in creative activities while co-running the studio and space "Walla" in Kodaira City, Tokyo. Oishi explores a diverse range of expressions, creating three-dimensional works using sculptural techniques and installations composed of poetry.
Influenced by the writings of French poet Francis Ponge, particularly the book "The Nature of Things," Oishi's creations are guided by a perspective into the world of things that becomes apparent in the absence of people. In his exhibition "For instance, Humidity" in 2022, an installation piece showcased how water clay transformed gradually during the exhibition period due to water collected through a funnel. In recent works, there's an evident gaze attempting to escape the human sense of time while maintaining the role of the creator.
Though employing different artistic methods, both artists received education in sculpture and shared common interests, including a scientific imagination, biology, and gravity. For instance, Oishi drew inspiration from research on how plant roots determine directionality in response to gravity, while Takeda was influenced by studies on morphogens, substances triggered by gravity that determine cell differentiation. These shared themes reflect a sculptural inquiry into the essence of things.
The exhibition will feature Takeda's new paintings and Oishi's sculptures and installations using cement, plants, and water clay.
After working with various media such as photography, video, and performance, Takeda has recently focused on creating and presenting painting works. His paintings are crafted by emphasizing or covering up images evoked by coincidental stains or scars. The imagery often reflects his experiences in the rural forests where he spent his childhood, not only through visual but also auditory, olfactory, and tactile senses. The background of this creative approach can be traced to Takeda's interest in the origin of Chinese characters found in oracle bone script. He aims to express the sensation and emotion of "Karinoware," a term from the novel "Tora-kari" by Atsushi Nakajima (1934), by being conscious of the nuances in the shades of ink. The pursuit of the color of ink has been persistent in his previous works, where black or colored lines carry meanings beyond the characters' intended sense.
Kazuki Oishi, born in 1993 in Yamaguchi Prefecture, completed his master's program in the Department of Fine Arts at Musashino Art University's Graduate School of Sculpture in 2018. Since August 2019, he has been engaged in creative activities while co-running the studio and space "Walla" in Kodaira City, Tokyo. Oishi explores a diverse range of expressions, creating three-dimensional works using sculptural techniques and installations composed of poetry.
Influenced by the writings of French poet Francis Ponge, particularly the book "The Nature of Things," Oishi's creations are guided by a perspective into the world of things that becomes apparent in the absence of people. In his exhibition "For instance, Humidity" in 2022, an installation piece showcased how water clay transformed gradually during the exhibition period due to water collected through a funnel. In recent works, there's an evident gaze attempting to escape the human sense of time while maintaining the role of the creator.
Though employing different artistic methods, both artists received education in sculpture and shared common interests, including a scientific imagination, biology, and gravity. For instance, Oishi drew inspiration from research on how plant roots determine directionality in response to gravity, while Takeda was influenced by studies on morphogens, substances triggered by gravity that determine cell differentiation. These shared themes reflect a sculptural inquiry into the essence of things.
The exhibition will feature Takeda's new paintings and Oishi's sculptures and installations using cement, plants, and water clay.
Schedule | Jan 27 (Sat) 2024-Feb 25 (Sun) 2024 Opening Hours Information
Opening Reception Jan 26 (Fri) 2024 18:00 - 21:00 | ||||
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| Fee | Free | ||||
| Venue | parcel http://parceltokyo.jp/  | ||||
| Location | 2F Maruka Bldg., 2-2-14 Nihombashi, Bakurocho, Chuo-ku, Tokyo 103-0002 | ||||
| Access | 3 minute walk from exit C4 at Bakurocho Station on the JR Sobu line, 4 minute walk from exit A2 at Asakusa-bashi Station on the Toei Asakusa line, 8 minute walk from the East exit of Asakusa-bashi Station on the JR Chuo Sobu line, 13 minute walk from the Showadori exit of JR Akihabara Station. | ||||
| Related images | Click on the image to enlarge it |
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