The title of Shingo Horiguchiʼ s solo exhibition, Reconfigured Westerlies ,reflects an ambition to re-examine the art-historical lineage that has long unfolded with the West as its point of origin, and to rewind that current inorder to introduce a new direction into it. Horiguchiʼ s recent explorations̶his approach to the relationship between “ground” and “figure” within pictorial space, as well as his practice of layering multiple stages of the painting process̶resonate with the inquiries undertaken by Paul Cézanne and the painters of Cubism, who sought to question the very structure ofpainting itself. Horiguchi aims to create paintings in which objects and the spaces they inhabit are layered multiple times, interwoven, and allowed to penetrate one another within the pictorial field. His practice unfolds through the active incorporation of computing technologies, echoing the spirit of Cubism, which emerged in response to the advances in science and technology. Multiple images drawn on separate supports are digitally composited, sometimes dismantled, and repeatedly reworked through a process of advancing and retreating. Images conceived in this way appear as though the completed form has been called back from the future, ultimately crystallizing into a single painted work through the artistʼ s hand. As a new development in this exhibition, Horiguchi introduces an approach that moves back and forth across the boundary between computer-based processes and manual painting, incorporating techniques of bokashi (blurring) and a heightened awareness of line found in East Asian painting. This attempt functions as a new foothold, allowing his practice to look toward more distant horizons. Through these explorations, this exhibition presents a significant culmination of Shingo Horiguchiʼ s recent artistic practice. We sincerely hope you will take this opportunity to experience the exhibition
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