2024.2.3

Fuminao Suenaga “Light paintings”

Maki Fine Arts is pleased to present Light paintings, a solo show by Fuminao Suenaga, from February 17 through March 17, 2024. This will be Suenaga’s fifth solo show since his last show at Maki Fine Arts three and a half years ago.

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A Blow of Lightness—About Fuminao Suenaga’s Light painting show
Keisuke Mori, Chiba City Museum of Art curator

Fuminao Suenaga’s paintings—hand-stretched square canvases divided lengthwise and crosswise into squares of 8, 16, and 32 grids which are then colored individually—are geometric and abstract, yet they convey a certain unique iconography. As referenced by the artist himself, Suenaga uses pixel art (dot paintings) and an iPad in his production process. His works showcased in Light paintings certainly have a correlation with technology and digital devices, even if their resolution may be perceived as “low.” And for visitors of a specific generation, the red vase-like container, the flowers, the crowd, and the explosions laid out in the gallery may evoke nostalgic scenes from computer games and ignite a certain sentimentality.

This new evolution using the iPad, for example, could be pointed out as related to the artist’s earlier series “Search Results,” his pre-pandemic paintings which depicted internet image search results of 20th century modern master artists. Motifs chosen by the artis previously included everyday items found around the artist, such as Post-its, levels, and protective storage boxes. In addition, objects existing in front of the viewer, such as picture frames were used as motifs. In other words, if we take into account the fact that the reproduction or representation of the real word has been done through the production of paintings, then we can understand that even the shimmering paint details evoking the physicality of the works in his newest exhibition can be seen as a pictorialization recognized by the artist in which a luminescent display is included.

Thus, Suenaga’s production philosophy—which is based on the proposition of pictorialization or materialization of real subjects—is a maneuver related to transformation including reduction, compression, substitution, and repetition exercised in the process of abstraction. And therefore, inevitably, it takes on the aspect of a “simulacre” which approximates reality.* Since proximity between the work and the system of painting has been indicated before, these works too, should be read as a mimicry of pixel art and as the artist’s intention of hacking the system itself. In other words, in contrast to its overt expression, only in the symbolic operation of various codes can Suenaga’s paintings secure their existence. So, his works—using a square as a unit and intricately composed with nonlinear combinations of 64, 256, and 1024 color grids—not surprisingly summon many paintings from the past. From Gerhard Richter’s “color chart” to Paul Klee’s grid-like abstract paintings which indirectly influenced the title of his new show, Suenaga’s works elicits the possibility of connection to paintings from the past.

When the visual similarities between each work are casually consumed as excess symbols, however, it may instead cause to decrease the high-order nature of the strategy latent in Suenaga’s paintings. Richter referenced Marcel Duchamp’s readymades in the “color chart” paintings he began creating in 1966 and was strongly influenced by pop art after moving to West Germany. Suenaga has created paintings intended to be practical objects while suppressing its subjects. Roy Lichtenstein’s influence during Suenaga’s earlier artist years and his approach to the medium of print and the continuity to his use of modern digital devices of recent years necessitates us to examine the fine-mesh details of the relationships between the individual paintings and the paintings etched into art history. 

Since starting his path at the end of the 20th century, Suenaga’s artistic journey is about to reach a quarter of a century. His method of production—where multiple media firmly connect to daily life and those complex information environments evolve across the board to materialize the real world—is inseparable from society, and thus seems to have continued to bear the postmodern syndrome that was strongly prevalent at the time his activities began. The lightness indicated in the title of this show is a characteristic that runs through all of Suenaga’s works. The significance and potential of such strategies running parallel to the age of globalism—such as the homogenization or flattening of information and the “lightness” or “smallness” which could be considered the consequence the usurpation of mass—should be examined in more detail. Just as his collection of minimal squares in this exhibition are a maneuver making it possible to link them not only to the multitude of paintings by other artists but to his works from the past, the archival nature frequently seen in recent years must be a highly important aspect for the viewer to understand his works. At least to this writer, these “light paintings” ask us to decode the symbols, while, as previously pointed out regarding the manifestation as a flat surface, they paradoxically provide a complex richness that refuses easy consumption. These works are a ferocious blow or stab equivalent to the weight of the history of the era that has predestined the works. And perhaps, it is the artist’s own ferocity which is felt.

*Simulacre is a concept proposed by French philosopher Jen Baudrillard. It refers to a cultural phenomenon in which replicated symbols saturating the consumer society results in the real world itself becoming symbolized and the perception of conventional things beginning to transform.

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I admit that I find myself searching for coolness in artillery vehicles when I see them shown during news of war conflicts, even though I understand that it is inappropriate. The realization that the reason for such a thought may have stemmed from my childhood experience with video games became the jumping off point for this show.

Some of the images I created were taken from games while others were digital drawings pixelated by using a pixel drawing app on my iPad. In addition, some images taken from games were altered.

Regardless of which image was used as the original, I copied them while I had my iPad at my side displaying a digital draft of the pixel art. Since the colors seen in the luminescence of the display and the colors seen as a mixture of pigments and mediums differ in the way it is received, there was a step taken in the process to make substitutions and to reconstruct the relationship. When paint is applied by hand and brush, the boundaries between colors are blurred and shifted, creating subtle overflows. Also, although the painting may appear to be painted flat, traces of the brush’s tremor and pressure remain on the surface. The combination of several factors results in a modestly abstract image that is almost faithful to the original painting, but in a different way.

Fuminao Suenaga

2023.11.17

Group Show – Yasuko Toyoshima, Ryosuke Ogino, Makoto Ito

Maki Fine Arts is pleased to present a group show featuring new and recent works by three artists starting Saturday, December 16, through January 28, 2024.

Yasuko Toyoshima
Born in 1967, Saitama, Japan. Toyoshima received her MFA from Tokyo University of the Arts. By taking a critical look at institutions and systems found in everyday life and in our society, Toyoshima focuses on creating works that shed light on the patterns found in human thought. Recent shows include Origination Method (solo, Museum of Contemporary Art Tokyo, 2023-24), PUBLIC DEVICE – Symbolism and Permanence of Sculpture (group, The University Art Museum, Tokyo University of The Arts, Tokyo, 2020), Image Narratives: Literature in Japanese Contemporary Art (group, The National Art Center, Tokyo, 2019). Her works have been added to collections at Museum of Contemporary Art Tokyo.

Ryosuke Ogino
Born 1970 in Saitama, Japan. Ogino graduated from the School of Political Science and Economy at Meiji University and completed the B-semi Learning System program. Ogino creates paintings using color layers while examining the relationship between color and form. Recent shows include The Constitution of Japan (group, Aoyama | Meguro, Tokyo, 2023), heliotrope (group, SHOUONJI, Tokyo, 2022), plastic language (solo, See Saw gallery＋hibit, Aichi, 2021). His works have been added to collections at Museum of Contemporary Art Tokyo.

Makoto Ito
Born 1955 in Aichi, Japan. Ito received his MFA from Musashino Art University. Recent shows include DOMANI: The Art of Tomorrow (group, The National Art Center, Tokyo, 2022-23), heliotrope (group, SHOUONJI, Tokyo, 2022), Omni-Sculptures -The Scene of Emergence- (group, Musashino Art University Museum & Library, 2021). His works have been added to collections at National Museum of Modern Art, Tokyo and Aichi Prefectural Museum of Art.

2023.11.1

Shunsuke Kano “Combined City”

Maki Fine Arts is pleased to present Combined City, a solo show by Shunsuke Kano, starting November 4 through December 3, 2023. This is Kano’s seventh show at the gallery after his last exhibition two and a half years ago. Kano has been presenting photographic works that question the sensation of looking by creating multiple layers on surfaces. His works produce optical illusions in which the order of layer placements and the perception of depth become blurred. In his “layer of my labor” series, for example, several photos are captured to create multi-dimensional layers, compressing the surfaces. In his “Pink Shadow” series, Kano uses photo paper that has been made transparent to allow a viewer to see the front and the back simultaneously.

In his new “Combined City” series, Kano has implemented a different approach, something similar to a photo collage. In his new approach, subjects are captured by camera from various perspectives, and multiple photographs are then pieced together on a surface. The inspiration for his “Combined City” series—where he has actualized a way to see a subject from multiple perspectives simultaneously—came while the artist took in the scenic views while traveling to the city of Kitakyushu in Fukuoka, Japan. Kitakyushu city was created as a result of incorporating five large cities equitably into one, a rarity in Japan compared to the more common way of incorporating a smaller city into a bigger city. Kano has tied the image of Kitakyushu as a combined city consisting of multiple equal cities into his works. While the curved lines traversing and intersecting on the surface evoke topographical boundary lines, adjacent pieces remain unfragmented and intermittently connected, creating a scenic composition possessing a new dimension.

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You find something on the road. It catches your attention from a distance because it’s shiny, but once you get closer you realize it’s just an ordinary rock. You mindlessly pick it up to look at it and return it to the road before you leave. Even for a simple rock found on the side of a road, by squinting your eyes trying to see what it is from a distance and then examining it by getting closer, with a change in time and distance, multiple perspectives come into existence.

In my “Combined City” series, a single subject is photographed from multiple perspectives. These photos are cut into pieces and then reassembled to enable the viewer to look at multiple perspectives simultaneously.

My goal is to see the condition in which results from uniting multiple perspectives heading into a single subject or from compressing the time we approach a single subject in one sitting.

Shunsuke Kano

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Shunsuke Kano
Born in 1983, Osaka. Recent shows include In the sight of the forest, Adrift in trees (solo, CHISO Gallery, 2023), Gaps in the Sandwich(solo, Kyoto City KYOCERA Museum of Art, The Triangle, 2021), Cascades and Barriers (solo, Maki Fine Arts, 2021).

2023.8.25

Nao Osada “Looking around what’s close at hand”

Maki Fine Arts is pleased to present Looking around what’s close at hand, a solo show by Nao Osada, starting September 9 through October 8, 2023 at the gallery’s new exhibition space: B1F, 77-5 Tenjin-cho, Shinjuku-ku, Tokyo (located inside the RUSTIC building)

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A simple overlap
Takuya Nakao, art critic

　There is subject a and subject b. Subjects a and b could both be images or they could both be objects. Alternatively, a and b could be an image and an object or an object and an image.
　Nao Osada replicates an <image> of the <already existing> by reproducing it onto a photograph, onto a print, and onto the raw material. The <object> that becomes the raw material is also <already existing>. The image of the <already exiting> becomes a coating, and that coating is reproduced onto the raw material. If we treat <image> as a and <object> as b, the transition occurs as <b (already existing) à a (photographed image) à b (coating) à b (support medium)>. In other words, the condition of Osada’s works of <transfer of preexisting image onto support medium> becomes the combination of <coating> as <(object=image+object)> and <support medium> as <+object>, thus becoming <(b=a+b)+b>.
　The <image> that is a is <nonexistent>, and the <object> that is b <exists>. In Osada’s works, however, it is important that the <replication> continues—for example, from the <already existing> motif, to the photograph capturing that certain condition, to that material that would be printed upon being ready-made.

a=image [replication]
In a distinction unnoticed by most, two things become identical, and therefore recognized as a replication. Replication places value in sameness, but, invariably, a distinction will emerge, regardless of whether it is noticed or not. The same images that are displayed and duplicated will change into having a characteristic through ownership.

b=object [replication]
Objects are replicated into two- and three-dimensions through <version> or <type>. A <version> of film, data, and silkscreen is printed onto paper, cloth, and other materials, and material becomes a replica through <type>. The replica made through <version> and <type>, however, will contain misalignments and individual variabilities, i.e., stains, smears, wrinkles, or scratches.

　These are accounts regarding the general replication of <image> as well as <object>. In Osada’s works, the <image> of the <already existing> and <ready-made goods> is printed (replicated) as <coating>. At the same time, the <object> of the <already existing> and <ready-made goods> becomes the <support medium>. Then, if all these become replica of the <already existing>, <image of replication=a> becomes <object of replication=b> as coating, and doubly overlaps <object of replication=b> that is the support medium. What Osada ultimately ends up creating is, by overlapping a replication on all a and b in <(b=a+b)+b> which equals <(object=image+object) +object>, a condition where these are recognized (viewed) as one that is <already existing>.
　Yet, in most cases, the coating and support medium are not combined as one (for example, the image of the corrugated box will not overlap the object of the corrugated box). While some exceptions exist, often, the <image> and <object> individually assert its status as a replication. We must now consider a separate frame that derives from the overlap of replica <image> and replica <object>.

a’=image [readymade]
Readymade was given context in the art world and carries a wide interpretation. Instances of Marcel Duchamp reproducing readymade shadows onto photographs, Andy Warhol reproducing readymade designs onto prints, and Peter Fischli and David Weiss reproducing readymades onto other materials indistinguishable from the original come to mind.

b’=object [readymade]
Readymades themselves have characteristics as individual mediums. Just as a tube of paint placed on canvas becomes a painting or an image transferred on print paper becomes a photograph, an image becomes a piece of work when reproduced onto a different medium or support medium, i.e., paper, cloth, wood, rock, metal, acrylic, mirror, glass, window, a part of a building, etc.  

　At the overlap of the <already existing> <image> and <object>, an overlap of visual lines occurs between the ready-made goods <a+b> as non-art and the readymade <a’+b’> as art. Therefore, at the overlap of replication called <(b=a+b)+b>, a potential will exist for a frame called <A{(b=a+b)+b}+B{(b’=a’+b’)+b’}> which overlaps <ready-made goods> A=non art and <readymade> B=art.
　Osada selects <ready-made goods/readymades> of objects a and b, photographs a, and prints it on b to create a new <image/object>. And most importantly, while that image is used as <ready-made goods/readymades>, it is considered more as one that would be discarded. More precisely, the visual line is cast toward the trace of what would be discarded.
　Scattered here and there within the <already existing> images selected by the artist are those that further emphasize the periphery of the replication—for example, those that <envelope>, <support>, or <enveloped>, <supported> the ready-made goods content. In addition, the coating and support medium distinctly overlaps as different mediums. This is when that image of the trace has the appearance of A=non art, yet, in the sense that the selected medium is used as a support medium and reproduced, it reveals the condition of it being B=art. (While the selection of medium is arbitrary, in the sense that it has been deprived of its practicality, artistry in the art world appears.) In this manner, all characteristics including stains, smears, wrinkles, and scratches are moved to the position that overlaps <trace=tache>.
　The coating and support medium are united on a <plane>. Its <painting=2D>-like stains and smears and <sculpture=3D>-like wrinkles and scratches remain in 2D instead of becoming 3D. Moreover, they are reproduced onto the support medium as an <illusion> that is <painting-2D>-like in which the 3D-ness has been copied. When this happens, the replication as imitation (mimesis) is the visualization (2D-ness) of the object which reproduces <ready-made goods/readymades> that contains <trace/tache>, as well as being the materialization (3D-ness) of the image by way of being reproduced on a separate medium. In both the day-to-day (life) and the art (production) in which painting- and sculpture-like <contents> are enveloped, supported, and discarded, this work process is made by way of the <already existing> <image> and <object> located at the edge—not at the center but on the periphery. For this reason, by incorporating the <life/production> cycle of daily life into non-art=A as a nested structure, and by not fixing the visualization or materialization of B=art, it can also be returned to A=non-art.
　In this manner, Osada’s works rotates non-art and art where the frames of non-art and art for <ready-made goods/readymades> and <A{(b=a+b)+b}+B{(b’=a’+b’)+b’}> overlap: in the way <trace> that is A=non-art becomes B=art, and tache that is B=art becomes A=non-art. The <characteristic of an image as a work of art>—the normal position of <original> and <copy> or <aura> and <non-aura>—and what supports it—<plurality of the support medium as a replicate>—reverses positions. In other words, it becomes <B[A{(b=a+b)+b}+B{(b’=a+b’)+b’}]+A[A{(b=a+b)+b}+B{(b’=a’+b’)+b’}]>. What results is an overlap of conditions providing characteristic to <plurality of the support medium as a replicate> as well as providing plurality to <characteristic of an image as a work of art>. Just like a print misalignment, and just like the individual variabilities found in ready-made goods. There is subject a and subject b; on that simple overlap.

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Nao Osada
Born 1988, Nao Osada received her MFA from Tokyo University of the Arts.
Notable shows include, The Constitution of Japan (group, MUJIN-TO Production, 2023), Medium and Dimension Liminal (group, Kakinokisou, 2022), At Least One (solo, Maki Fine Arts, 2022), Playground for the Senses (group, ANB Tokyo, 2022), I see (solo, NADiff Window Gallery, 2022).

2023.4.16

Group Show
Glen Baldridge, Holly Coulis, Alex Dodge, Keisuke Shirota

Maki Fine Arts is pleased to present a group show featuring new and recent works by four artists starting Saturday, May 13, through June 25, 2023.

Glen Baldridge
Born in 1977, Nashville, Tennessee. Recent shows include Wigwag (solo, Klaus von Nichtssagend Gallery, 2023), What Now Who How (solo, Halsey McKay Gallery, 2022), No Way (solo, Halsey McKay Gallery, 2019). His works have been added to collections at Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum, RISD Museum.

Holly Coulis
Born in 1968, Toronto, Canada. Recent shows include Sun Shift (solo, Cooper Cole Gallery, 2023), Eyes and Yous (solo, Klaus von Nichtssagend Gallery, 2022), Orbit (solo, Philip Martin Gallery, 2021). Her works have been added to collections at Blanton Museum of Art, Nerman Museum of Art.

Alex Dodge
Born 1977 in Denver, Colorado. His recent shows include Personal Day (solo, BB&M, 2023), Laundry Day : It all comes out in the Wash（solo, Maki Fine Arts, 2021), (solo, Klaus von Nichtssagend Gallery, 2020), Programmed: Rules, Codes, and Choreographies in Art, 1965-2018 (Whitney Museum of American Art, 2018-2019). His works have been added to collections at Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum, Museum of Fine Arts Boston, RISD Museum.

Keisuke Shirota
Born 1975 in Kanagawa, Japan. His recent exhibitions include Beyond the Frame (two person,  haco -art brewing gallery- , 2023), Out of the frame (solo, Maki Fine Arts, 2022), Over (solo, Maki Fine Arts, 2021), PAINT,SEEING PHOTOS (solo, Chigasaki City Museum of Art, 2019-2020). His works have been added to collections at Chigasaki City Museum of Art.

2023.2.26

Shoko Masunaga “What Comes After the Beyond“

Maki Fine Arts is pleased to present What Comes After the Beyond, Shoko Masunaga’s first solo show at the gallery, starting Saturday, March 18, through Sunday, April 23, 2023.

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A Painting as an Occurrence
Ryo Sawayama, art critic

In Shoko Masunaga’s creative process, paintings are formed, not drawn. Her paintings do not involve preconditioned support mediums that are limitlessly provided to the artists. The common circumstance of images being drawn onto a support medium canvas, therefore, is avoided to the greatest degree.

Instead, support mediums used as the foundation of Masunaga’s paintings are more like maneuverable materials that are fluid and flexible. Consequently, the images are generated alongside the support medium’s physical plasticity and thickness. The paintings evolve and expand. They are layered, folded, curved, twisted, peeled, diverted, ripped off, and pasted on. Her paintings are formed by way of accepting the various shape-changing actions described by these dynamic words. It is a logical and structural consequence that the formation of the support mediums and the genesis of the images occur simultaneously. 

The paintings are uninterrupted recordings of the artist’s behavior and actions. And released from the narrow confines of the wooden frames, the canvases can now display their shape-changing abilities in full-scale. While the cloth materials cannot support themselves on their own, if bent severalfold or transformed and redirected overtime, we realize that motion has been added to the materials. In that respect, the paintings become the artist’s various behaviors; the material’s tangible flexibility or transformability; and the mechanical location or occurrence in which forces like gravity intersect while in an inseparable state. A painting functioning as topos—a place to record continuous occurrences—is now established. 

It is at this point that Masunaga’s paintings change from something noun like to verb like, because her handcrafted creations are designed to be dynamic paintings that originate and evolve in front of the viewer’s eyes. They flutter as though taking in the surrounding air and wind, pulsing ever so slightly with its own breath’s cadence, and existing discreetly.   

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Born 1980 in Osaka, Japan, Shoko Masunaga graduated from Seian Zokei Junion College in 2001 with a degree in painting. She was in New York from 2018 to 2019 through the NARS Foundation International Residency Program. Her creative process originates from paintings and utilizes a variety of techniques. By focusing on the connections to the surrounding environment and space, her works become fluid and interchangeable. Recent major shows include editing (solo, nidi gallery, 2022), replace (solo, LOKO Gallery, 2021), Ordinary objects (group, Maki Fine Arts, 2020), Box, Box, Box (solo, Cooler Gallery, 2019), CRITERIUM 93 Shoko Masunaga (Contemporary Art Gallery, Art Tower Mito, 2018), and VOCA—The Vision of Contemporary Art 2017 (The Ueno Royal Museum, 2017).

2023.2.8

Mami Hirano “Imaginary Lesson“

Maki Fine Arts is pleased to present Imaginary Lesson, a solo show by Mami Hirano, starting Saturday, February 4 through Sunday, March 5, 2023. Hirano has showcased works including “Conservation and Reproduction” (2013)–a recreation of her pet dog who was declining in health, precisely duplicating elements such as its size, skeleton, and body details. In “METAMORPHOSES” (2018), the artist CT-scanned the urn that contained her beloved dog’s cremated remains and then used a 3D printer to create bones made out of glass and ceramic.
Her works are compassionate and are records of her observation on death. At the same time, they could also be considered a type of self-reflection for the purpose of accepting what has been lost. In her first solo show for Maki Fine Arts, Hirano will exhibit the processes behind her ongoing project “Revive a Unicorn,” which she has been working on since 2014. In this work, in an attempt to actualize the imaginary unicorn, meticulously-made skeleton, innards, muscles, and skin, as well as the life-support device connected to the heart and lungs will give the appearance of the mythical creature being brought to life. In addition to the unicorn, a deeper focus into Hirano’s life-long and ever-expanding project is on display in the form of blueprints of body parts, including the epidermis, organs, nerves, blood vessels, muscles, and the skeleton.

Mami Hirano
Born 1989 in Gifu, Japan, Mami Hirano graduated from Tokyo University of the Arts with an MFA in Intermedia Art in 2014. By choosing subject matters that are both real and imaginary–such as a unicorn and her beloved dog who was battling an illness–and faithfully producing all the elements that make up those life forms including bones, innards, muscles, and skin, Hirano creates works about the structures of these life forms, the preservation of life, and the topic of resuscitation. Her works are a deep reflection on absence and death, preservation and creation, and recognition and existence; and invites viewers in this modern age to ponder on how we should face these contemplations. Hirano’s major shows include, Ab-sence/ac-ceptance (The Museum of Fine Arts, Gifu, 2021), Frankenstein in 2018: Bio-art throws light on art, science, and society today (EYE OF GYRE, 2018), and METAMORPHOSES (3331 Arts Chiyoda, 2021).

2023.2.25

Nao Osada “At Least One”

Maki Fine Arts is pleased to present At Least One, a solo show by Nao Osada, starting Saturday, September 17, through Sunday, November 6, 2022. This is Osada’s second solo exhibition at the gallery since her first show two years ago.

Nao Osada
Born 1988, Nao Osada received her MFA from Tokyo University of the Arts. Notable shows include, I see (solo, NADiff Window Gallery, 2022), (Something) Not Amounting to Much (solo, Maki Fine Arts, 2020), Breathtaking, for a while (solo, Open Letter, 2018), Playground for the Senses (group, ANB Tokyo, 2022), Shibuya Hikarie Contemporary Art Eye Vol.15 (group, Shibuya Hikarie CUBE, 2021), Encounters in Parallel (group, ANB Tokyo, 2021), Alex Dodge, Fuminao Suenaga, Nao Osada by Maki Fine Arts (group, CADAN Yurakucho, 2021), and Sunburn After Swimming in the Painted Pool (group, Tokyo Metropolitan Art Museum Gallery, 2020).

2023.2.8

Group Show – Yoshio Shirakawa | Fuminao Suenaga | Keisuke Shirota | Shunsuke Kano | Sean Micka

Maki Fine Arts is pleased to present a group show featuring new and recent works by five artists starting Saturday, June 25, through Sunday, July 24, 2022.

Yoshio Shirakawa
Born 1948 in Fukuoka, Japan, Yoshio Shirakawa graduated from Kunstakademie Düsseldorf in 1981. Recent shows include To the Enneades (Rin Art Association, 2022), Summer Light (solo, Maki Fine Arts, 2019), Weavers of Worlds -A Century of Flux in Japanese Modern/Contemporary Art–(Museum of Contemporary Art Tokyo, 2019), Production Process (solo, Rin Art Association, 2018), Beyond the future of Meld Sculpture (curation, Maki Fine Arts, 2018), Creative Dialogue with Museum 01–MONUMENT (Tottori Prefecture Museum, 2017), Aichi Triennale 2016–A Rainbow Caravan (2016), The Capital Room: Beyond Three Dimensional Logical Pictures–vol. 7 (solo, gallery αM, 2016), and dada, dada, da (solo, Arts Maebashi, 2014).

Fuminao Suenaga
Born 1974 in Yamaguchi, Japan, Fuminao Suenaga graduated from Tokyo Zokei University in 1999 with a major in painting. Recent shows include Picture Frame (solo, Maki Fine Arts, 2020), Publicness of the Art Center (Art Tower Mito, Contemporary Art Gallery, 2019-2020), Weavers of Worlds–A Century of Flux in Japanese Modern/Contemporary Art– (Museum of Contemporary Art Tokyo, 2019), MOT Collection: Pleased to meet you. New Acquisitions in recent years (Museum of Contemporary Art Tokyo, 2019), Search Results (solo, Maki Fine Arts, Tokyo, 2018), railroad siding 2017 (former Tokorozawa city supply center for school meals, Saitama, 2017), APMoA Project ARCH vol. 11 Museum Piece (Aichi Prefecture Museum of Art, 2014), and Born in 1974 (part 1 of a 40th anniversary show, Museum of Modern Art, Gunma, 2014).

Keisuke Shirota
Born 1975 in Kanagawa, Japan, Keisuke Shirota received his MFA from Tokyo University of the Arts, Department of Design in 2003. His recent exhibitions include Out of the frame (solo, Maki Fine Arts, 2022), Over (solo, Maki Fine Arts, 2021), PAINT,SEEING PHOTOS (solo, Chigasaki City Museum of Art, 2019-2020), Tracing / Background (solo, Base Gallery, 2013), Shell Artist Selection (The National Art Center, Tokyo, 2013), Photo Reference: Photographic Image in Contemporary Japanese Art Practices (Belgrade Cultural Center, 2012), and his solo show at Galerie Stefan Röpke (2010).

Shunsuke Kano
Born 1983 in Osaka, Japan, Shunsuke Kano completed his graduate studies at Kyoto Saga University of Arts in 2010. Recent shows include Gaps in the Sandwich (solo, The Triangle, Kyoto City KYOCERA Museum of Art, 2021-2022), Cascades and Barriers (solo, Maki Fine Arts, 2021), Compression Training (solo, Clinic, 2021), Counter Program (solo, Art-Space TARN, 2020), Fountain for the 8th shiseido art egg (Shiseido Gallery, 2021), VOCA 2017 Vision of Contemporary Art (Ueno Royal Museum, 2017), and Photography Will Be (Aichi Prefectural Museum of Art, 2014). Kano is also a member of the COPY TRAVELLERS.

Sean Micka
Born 1979 in Boston, Massachusetts, Sean Micka lives and works in Brooklyn, New York. Micka was a participant in the Whitney Museum of American Art’s Independent Study Program from 2012-2013 and 2013-2014. Recent shows include, Fine Silver and Extraordinary Diamonds from the Estate of an Important Collection (Josée Bienvenu Gallery, 2019), People Who Work Here (CFCP & David Zwirner Gallery, 2019), Edges, Corners, Shadows (Three Star Books, 2018), and Condition Report: Deregulation (Abron Arts Center, 2014).

2022.2.8

Keisuke Shirota “Out of the frame”

Maki Fine Arts is pleased to present Out of the frame, a solo show by Keisuke Shirota, starting Saturday, March 26, through Sunday, April 24, 2022. Shirota’s works combining photographs with paintings have been showcased in numerus shows including PAINT, SEEING PHOTOS at the Chigasaki City Museum of Art in 2019. In his second solo show with Maki Fine Arts, he will present new works that utilize snapshots that have been augmented by painting beyond the borders. His new works are based on his representational work “A Sense of Distance” he began creating around 2003. Misalignments created from overlapping photographs and voids (frames) formed through the drawings make the viewer notice the ambiguity found in the act of looking. At same time, Shirota’s works hint at the complex relationship between photography and painting.

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Out of the frame

One photograph. When staring at a single image, what flickers through my mind is the other possibilities–what ended up outside the frame. Pressing the shutter and taking the photograph is certainly one option. Regardless of the intention–whether it was to record a decisive moment or a boring, ordinary moment in time–unless you chose the path of not documenting the moment, there is no other way but to press the shutter to capture an image. The act of photography, regardless of one’s skill level, always involves choosing to frame a certain moment. On the flip side however, doesn’t it also simultaneously create numerous un-selected moments and frames? Even with the seemingly unlimited potential to film endless moments courtesy of today’s digital devices and smart phones, I am unable to dismiss these thoughts that intensify further. The time I spend looking at the photos seem to double as a time to confront the other possibilities that have spilled over from the chosen option.

The un-captured alternative option. The other could-have-been-selected frame.
As I negotiate with the limit created by the frame of the canvas, I treat the photograph as an access point to the other possibilities, adding brush strokes around it. The more I try to be faithful to the photograph, the tangibility of the gaps between photo and body; photography and painting; and record and memory increase. It goes without saying, the field that was drawn is only one possibility out of an infinite number of possibilities.

Kaisuke Shirota

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Keisuke Shirota
Born 1975 in Kanagawa, Japan, Shirota received his M.F.A from Tokyo University of the Arts, Department of Design in 2003. His recent exhibitions include Over (solo, Maki Fine Arts, 2021), PAINT, SEEING PHOTOS (solo, Chigasaki City Museum of Art, 2019-2020), Tracing / Background (solo, Base Gallery, 2013), Shell Artist Selection (The National Art Center, Tokyo, 2013), Photo Reference: Photographic Image in Contemporary Japanese Art Practices (Belgrade Cultural Center, 2012), and his solo show at Galerie Stefan Röpke (2010).