Human figures made by children fingers out of plastic, bodies sculpted from sand on the beach or starting to melt snowman in the backyard …. all these “magnetic moments” when the expression of human body is being born from close physical practices, while the material of it is still linked to the corporeal dimension, to the substances and organs of the body itself. Less “sublime”, less “abstract”, less “general” moments. They are closer (down here) to our corps, which shape, together with its matter, is spreading further to the dimension of artistic expression holding guts-like connection with Unformed of the flesh itself. This is the particular visual and in the same time tactile binding in art Frantic Gallery would like to think about presenting – in collaboration with Tokyo Gallery - “Tangled Faces, Folded Flesh” by Danshaku Miyazawa and Kanata Goto. Two emerging Japanese artists will show their drawings, in which a figure is being born in the midst of substance and through work of hands, where a “silhouette line”, for instance, can be found in signifying conglutination with “colourful foam” or “nylon threads”, where “parts of faces” can be linked by “navel cords” or metal strings, where folded paper might stand for expansion of “skin” and act of clipping and cut are equal to creation of a human body.
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Kanata Goto, Move, metal, nylon and cotton threads on lather, wood, 38.5×73.5×1cm, 2015
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Danshaku Miyazawa, ori no.151, watercolor on Japanese paper, 23.2x17.5cm, 2015
Danshaku Miyazawa projects a perception of body and its form on the semi-transparent thin and extremely fragile foils of Japanese paper, a delicate material apparently in hidden affinity to the skin of the artist itself. He often folds the paper before drawing a vaguely outlined face or body on it - unstable, always ready to slip to another layer or vanish in paper itself figure – and then reshuffles the image opening and multiplying the figure in it. He tears slightly a part of drawing in different places and connect different layers of the paper and representation by paper funiculus that is now not just a media on the back of the image, but both visual and tactile presentation of “hair”, “nerve”, “spine” or “naval-cord” binding together the layers of paper-spaces the body is stretched in. The result of this in its core Frankenstein type of creation is the form and the image of body, which is inseparable with the matter it is planted in and eventually through its “cords” and “colorful secretions” leads to the flesh of the artist itself. | More about the artist.
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Kanata Goto, re, metal, nylon threads on lather, wood, H31×W47×D1.5cm, 2015
Kanata Goto finds a piece of cow or sheep leather, cuts the panel so it suits the form and size of the animal skin and stretches it on the wooden surface. Thus the form of the work is already decided not by the artist but by the morphology of the organic entity itself. Then he uses stapler and textile threads to pinch them to the leather surface. From one side the patterns of stretched and folded threads are distributed and formed based on the original organic shape, from another side they follow strict geometrical lows that incorporate in skin for example parallelism or right angle, binding it with the laws and forms external to the realm of nature. The result is an image created by the intense intervention of artist’s body and on the base of body material, but transfixed by the cultural laws. Goto’s works are kind of mutants that synthesize in themselves both organic with conceptual, natural and cultural, thus shedding light on the phenomenon of human body and it’s cultural forms. |More about the artist.
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Danshaku Miyazawa, ori no.151, watercolor on Japanese paper, 23.2x17.5cm, 2015
