NORITAKA TATEHANA

The two simultaneous solo exhibitions have contrasting characteristics. One embodies the powerful prolific work of NORITAKA TATEHANA STUDIO, which the artist established the year he graduated from university based on an art studio approach, focusing on the theme of reconstructing Japanese culture. The other exhibition showcases works rooted in Tatehana’s personal memories and interests.

The “Sacred Reflections” show at the Tennoz gallery features works with waka (traditional Japanese poetry) and mirror motifs with the theme of cultural inheritance. Waka poetry has been passed down since ancient times by being transcribed as it was composed. For this exhibition, Tatehana himself transcribed waka poems selected from the historical poetry anthology Kokin Wakashū, writing with his own brush. By doing so, the beauty and spirituality of the Japanese language is expressed, and the meaning of inheritance is reflected in his works. A motif for the supports used in art, the mirror motif, applied as the support of the artworks, reflects cultural memories and suggests that the viewers themselves play a part in this inheritance through their interaction with by way of the artworks.

Tatehana has provided the following statement about “Sacred Reflections.”

Mirrors become vessels for memory, with poetic musings silently engraved upon them across time. Through the act of transcription, past cultures begin to speak anew, revealing how traditions are not static, but are passed down through repetition.

By being reflected onto a support resembling a mirror, Kokin Wakashū, an emblem of traditional Japanese culture, is reexamined from a different perspective, rather than simply passing on tradition. While mirrors have traditionally been devices for seeing one’s own reflection, through this artwork, they become tools that encourage dialogue between oneself and culture. This re-evaluation of cultural memories within oneself is what the practice of Rethink is all about.

Meanwhile, in contrast to the creations produced with others at his studio, Tatehana’s show “Obsession” in Kyobashi only features original paintings created by the artist alone. By returning to the most primitive method of engaging with art after a fifteen-year career since graduating from university, Tatehana is providing an opportunity to reexamine the path he has taken and the origins of his practice.

While the studio-based creations of “Sacred Reflections” focus on the inheritance of culture and tradition, “Obsession” conveys the artist’s trajectory and spirituality from a contrasting perspective with works that deal with Tatehana’s inner self and personal memories.

Tatehana has provided the following statement about “Obsession.”

My practice has expanded far more than I ever imagined, taking on social significance and meaning that transcend the individual. However, there have also been many moments when I felt as though I was losing sight of my personal values and aesthetics. During those times, I sensed that the only way to maintain a balanced psyche as an artist was to get in touch with myself and create works with my own hands.

The lines and colors drawn from my brush express the fluctuations of my thoughts and emotions, my conflicts, my doubts, and a glimmer of joy. The act of painting itself is a dialogue between past and present, my inner self and the outside world, which helps me to visualize the memories and sensations deep within my heart.

These shows are an ambitious attempt to delve deeply into the artist’s inner self, as well as the expanse of time and space, and connect his explorations spanning multiple dimensions. We cordially invite you to attend Noritaka Tatehana’s solo exhibitions “Sacred Reflections” and “Obsession” at KOSAKU KANECHIKA, presenting 15 works at the Tennoz gallery and 10 works at the Kyobashi gallery, respectively.