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チェックと日本の現代美術界についての感想

大庭 大介 ロンドん

2011年9月23日


I have long thought that Daisuke Ohba's subtle and intense paintings would find an appreciative international audience, so it very pleasing to see an extraordinary set of new paintings at the Daiwa Anglo-Japanese Foundation in London this week, The Light Field. Ohba, who was born in Shizuoka in 1981, was a young associate of Kohei Nawa at Kyoto, and shares with Nawa and other ECHO artists (the group show of YJAs at ZAIM, Yokohama in 2008) a kind of "pix-cell" based methodology that approaches art work via a kind of digitalisation of visual elements, and the evocation of the ever present white light of the computer screen. In Ohba's case, it takes the form of a kind of abstract neo-impressionist painting, using heavy, metallic acrylic paint on cotton canvases. But Ohba also draws his inspiration from classical and familiar natural motifs in Japanese art, such that it is able to transcend both very contemporary and more conservative tastes.

The point comes out well in the setting for his works in London, a duo of rather regal rooms in a Georgian terrace house near Regent's park, London, which houses the Daiwa foundation. Ohba's work certainly looks good in the setting of clinical modern architecture -- a reason, perhaps, for the interest in his work in the past by designers and architects (works have been bought by Dries van Noten, and at 2008 Frieze Art Fair, Norman Foster). But here the setting is classical, and it still works well. A front room looking across the park holds a number of his more naturalistic works: cherry blossoms, flower blooms and a forest, executed in his characteristic silvery-lilac acrylic on cotton. He is at his best as he moves towards ever more refined abstraction: the huge forest painting composed of what look like finger paint dabs laid out on a ghostly stencil of the natural world: an image Daiwa say is drawn from a recent visit to a desolate spot in Fukushima, where Ohba was overwhelmed by natural beauty in a now, officially, toxic place.

One point of interest for me was the parallel ambition of young star architect Junya Ishigama and his current installation The Curve: Architecture as Air at the Barbican in London. I will write about this next time, but just as Ishigami is trying to transcend - through an ever more refined technique - the binary opposition of architectural "construction" and natural "space", Ohba's work here plays on the impossible idea of finding the intersecting point of nature and its artificial representation.

In the back room, by contrast, the emphasis is on geometrical shapes -- slightly distorted versions of argyll patterns and spirals -- where the "pix-cell" methodology is more apparent. A new work on one wall strikes out in a different direction: a scarred and damaged battle scene, something like a Pollock only executed in the same ghost like acrylic paint. It is a dramatic work.

SCAI The Bathhouse will be pleased to know that the works have elicited a lot of interest from London collectors, justifying their investment in a number of young artists that have been groomed out of Kohei Nawa's studios in Kyoto. There will be a talk about the ideas and techniques behind the work by Daisuke Ohba on 14th October to coincide with the 2012 Frieze Art Fair, just across the road in the park. His show runs until October 20th.

For more information and images:
http://www.dajf.org.uk/exhibition-event/the-light-field-2



ADRIAN FAVELL
http://www.adrianfavell.com

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大庭 大介 ロンドん
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