Enrico Isamu Oyama "Abstractions / Extractions"
Takuro Someya Contemporary Art
Until Nov 30
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Artists
Enrico Isamu Oyama
Takuro Someya Contemporary Art is pleased to announce the upcoming solo exhibition Abstractions / Extractions by Enrico Isamu Oyama. This exhibition explores the hybridity of semantic and contextual formations in Oyama’s work, examining the intricate processes of abstraction within his paintings through the concept of ‘extraction.’
Expanding upon the field of aerosol writing, which emerged in New York during the 1970s and 80s as both a practice of urban marking and a form of ephemeral visual communication, Oyama has developed his signature motif “Quick Turn Structure (QTS)” across various mediums. Central to his practice is painting, in which Oyama employs the layered application of aerosol paint to create geometric yet fluid lines that evolve into abstract forms of QTS, critically exploring the interplay between space and time as reflections of his physical movements. His continuous reworking of creative methods and the composition of visual idioms align with his thought processes, which negotiate multiple geo-historical temporalities.
In this exhibition, Oyama delves into the conceptual underpinnings of his practice, questioning the very nature of abstraction through a focus on the idea of ‘extraction’ as a counterpoint. While abstraction often implies a metaphysical sublimation of the original source, ‘extraction’ suggests engaging contextually with elements drawn from the source material in a way that reconstitutes them, maintaining a connection to the original while rearranging them into new semantic associations. This idea also parallels the distinction in academic writing between an abstract, which provides a broad summary, and an extract, which offers precise quotations from a text. In Oyama’s paintings, letter forms are broken down into elements to be recomposed as QTS in the foreground, while in the background, curves and layered shapes are drawn using aerosol paint, ink, and tools such as sponges and scrubbing brushes. This method emphasizes the artist’s physical movements through mark-making, where the acts of spraying and smearing both conceal and reveal layers, generating a complex interaction between abstraction and gesture.
The intensity of ink expression in the background visually evokes the tradition of East Asian calligraphy, a historical connection Oyama further hones by emphasizing ‘stroke order’ as a more physical foundation of writing in general. Stroke order serves as a standardized sequence that enables repetition, and as the motion of writing is repeated over time, the letter forms gradually unravel, transforming into free-flowing lines that seem to stretch into the realms of audio and moving image. In Oyama’s work, the industrial matière of aerosol paint, improvisational calligraphic gestures of ink, and contemplative process of abstraction—each with its deliberate deconstruction of form—converge to weave a multifaceted dialogue between continuity and change, spontaneity and control. His exploration of ‘extraction’ as a conceptual tool invites viewers to reflect on the interconnectedness of global artistic practices, resonating with the plurality of modernisms and forms of abstractions that transcend geographical, contextual, and disciplinary boundaries.
Expanding upon the field of aerosol writing, which emerged in New York during the 1970s and 80s as both a practice of urban marking and a form of ephemeral visual communication, Oyama has developed his signature motif “Quick Turn Structure (QTS)” across various mediums. Central to his practice is painting, in which Oyama employs the layered application of aerosol paint to create geometric yet fluid lines that evolve into abstract forms of QTS, critically exploring the interplay between space and time as reflections of his physical movements. His continuous reworking of creative methods and the composition of visual idioms align with his thought processes, which negotiate multiple geo-historical temporalities.
In this exhibition, Oyama delves into the conceptual underpinnings of his practice, questioning the very nature of abstraction through a focus on the idea of ‘extraction’ as a counterpoint. While abstraction often implies a metaphysical sublimation of the original source, ‘extraction’ suggests engaging contextually with elements drawn from the source material in a way that reconstitutes them, maintaining a connection to the original while rearranging them into new semantic associations. This idea also parallels the distinction in academic writing between an abstract, which provides a broad summary, and an extract, which offers precise quotations from a text. In Oyama’s paintings, letter forms are broken down into elements to be recomposed as QTS in the foreground, while in the background, curves and layered shapes are drawn using aerosol paint, ink, and tools such as sponges and scrubbing brushes. This method emphasizes the artist’s physical movements through mark-making, where the acts of spraying and smearing both conceal and reveal layers, generating a complex interaction between abstraction and gesture.
The intensity of ink expression in the background visually evokes the tradition of East Asian calligraphy, a historical connection Oyama further hones by emphasizing ‘stroke order’ as a more physical foundation of writing in general. Stroke order serves as a standardized sequence that enables repetition, and as the motion of writing is repeated over time, the letter forms gradually unravel, transforming into free-flowing lines that seem to stretch into the realms of audio and moving image. In Oyama’s work, the industrial matière of aerosol paint, improvisational calligraphic gestures of ink, and contemplative process of abstraction—each with its deliberate deconstruction of form—converge to weave a multifaceted dialogue between continuity and change, spontaneity and control. His exploration of ‘extraction’ as a conceptual tool invites viewers to reflect on the interconnectedness of global artistic practices, resonating with the plurality of modernisms and forms of abstractions that transcend geographical, contextual, and disciplinary boundaries.
Schedule Now in session | Oct 19 (Sat) 2024-Nov 30 (Sat) 2024 40 days left Opening Hours Information
Opening Reception Oct 19 (Sat) 2024 15:00 - 18:00 | ||||
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| Fee | Free | ||||
| Website | https://tsca.jp/exhibition/enrico-isamu-oyama%ef%bd%9cabstractions-extractions/#works | ||||
| Venue | Takuro Someya Contemporary Art http://tsca.jp/ | ||||
| Location | 3F, 5F Terrada Art Complex, 1-33-10 Higashi Shinagawa, Shinagawa-ku, Tokyo 140-0002 | ||||
| Access | 9 minute walk from exit B at Tennozu Isle Station on the Rinkai line, 10 minute walk from the South exit of Tennozu Isle Station on the Tokyo Monorail line, 9 minute walk from the North exit of Shimbamba Station on the Keikyu line. | ||||
| Phone | 03-6804-3018 | ||||
| Related images | Click on the image to enlarge it |
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