Vagueness / Waving Rhythms
Midori Arai / Shisa Yoshimi
8 - 23 December 2023
Vagueness / Waving Rhythms
Midori Arai & Shisa Yoshimi
8 – 23 December 2023
11:00 – 19:00
17 December (Sun.) Closed due to the replacement of the works
23 December (Sat.) 12:00 – 17:00
GALLERY HAYASHI + ART BRIDGE is pleased to announce Vagueness / Waving Rhythms, a two-artist exhibition featuring new works by Midori Arai and Shisa Yoshimi. The show will be on view from 8th December to 23rd December.
Painted with the use of sumptuous colour, bravura brushwork and complex compositions, Arai’s work demonstrates a gestural abstractions of her body. Brushstrokes and layers that appear on the canvas, guided by the physical memory of its movements, clearly reveal Arai’s own memories and heartbeat. Viewers confronted with Arai’s work will realise their own finitude by following the traces she has left behind.
Shisa Yoshimi works with abstract concepts such as myths, rituals, folklore and customs. Referring to the peculiarity of mankind’s sharing of abstract concepts, which Yuval Noah Harari described as ‘the sharing of fiction’, she also considers the environment and the body as tools for sharing abstract concepts, and paints overlapping lines and colours that are left to their own coincidence and spontaneity. The works in this exhibition will be inspired by Kabuki stage sets and the physicality of ballet.
“Vagueness / Waving Rhythms”
When I saw that painting, the sea – the origin of all life – sprang to mind.
The boundless expanse of time, nurtured within pulsating waves, echoes the universal infinity and solitude found in paintings.
To capture the breath of life on the cusp of change, or to freeze the vitality of movement – in our case, the medium was painting.
Yoshimi’s paintings, layering delicate hues like mist, etched with spontaneous shapes and lines, evoke vagueness; a dreamlike ambience akin to being immersed in slumber.
Like the ocean at dusk, where the horizon has dissolved into a gradation, the world’s boundaries blur and evoke a dreamy state as though all things were one.
Arai’s strokes pulsate with lively spontaneity, vividly preserving the ebb and flow inherent in bodily strength and weakness.
The structure of the layers, which conceal the order in which they were painted, is also a trace of the struggle to abandon ingrained techniques and unveil unconscious elements, without daring to create a hierarchy.
Amidst the means of capturing beauty just before it takes form, and the prelude to thought just before action, they continues to draw near to the whereabouts of its essence, all the while capturing the transience dwelling in unconsciousness.