YUJI ONO

This exhibition marks Onoʼs first solo presentation in 12 years (14 years since his previous showing in Tokyo), and features the artistʼs Tableaux series that he has continued to work on since 1995, serving to introduce itʼs course of progression and developments leading up to recent years.

Dealing with paintings from the Renaissance to the Impressionist era as their subject, the Tableaux series is thorough in its concept, photographed under the natural light within the museum space or with candlelight, ‘attempting to trace back in time and return to the same conditions under which the works of these artists were realised.’ That which emerge as a result, are obscure images that are far from the original paintings. The frame which ordinarily fulfils a supporting role at times becomes a leading part of the work, while even the space and the very atmosphere of the place where the painting is hung is incorporated into its context. In this respect, the accumulated passage of time during which Ono confronted his subjects, come to quietly manifest within his oeuvre.

Ono has engaged with paintings from the 16th century to the 18th century as his motif, from the works of artists conceived before the introduction of artificial light, to the works of impressionist painters who ventured out of their studio to capture the ephemeral changes in the atmosphere, light, and time upon the canvas. As a photographic artist, he has continued to pursue a means of expression that is only realizable through photography, which in the 19th century before the birth of impressionism, was a technique that had threatened the practices and social standing of artists working in realist painting. In his Tableaux series, Ono thus appears to realise a grand narrative by conveying the intersection between the history of painting and the history of photography through the works.

Ono states as follows regarding his Tableaux series.

‘It is perhaps possible to attain a similar banal outcome or sorts through the application of technique, or by simply changing the angle. Yet there is no interest in this at all, in particular when appreciating the works of painters or creating a homage to painting, as well as in reconsidering the love-hate relationship between photography and painting that has existed like two sides of a single piece of paper since the moment photography was born.’

This series that can be described as ‘another form of painting depicted through light,’ is a testimony of Onoʼs intimate exchange with the artists whom he respects. At the same time, it also is a result of Onoʼs actions that deliver a sharp blow to the history of painting. We hope that you would kindly consider featuring the exhibition in your media outlet.

Finally, we believe that it is a great honour for ShugoArts to have been given the opportunity to present this solo exhibition with Yuji Ono, who has kept his silence within the art scene for the past 12 years. We would like to express our sincere gratitude to Yuji Ono, and to all who provided their support and cooperation in realizing this exhibition.