Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
Taka Ishii Gallery is pleased to present a solo exhibition of works by Nobuya Hoki from September 14 to October 12. This will be the artist's fifth exhibition with the gallery and it will feature approximately 15 of his latest paintings. His last exhibition with the gallery was in 2014.
'In order to not make dirt a buffer between line and ground, I treated ground, dirt, and line as a tripartite construction. Now that the three parts could be interchanged, I was able to continuously and rapidly transform the picture.
To paint, using strokes, a canvas that is bigger than one's reach, one must generally fill the surface using a pattern that uses the body like a ruler or a compass, or mark the canvas with movements that have been stretched and performed by a body extended with painting implements. In paintings clearly made by human physical movements, however, there is something not captured in the two methods described above. Confronting such paintings, I concluded that one must consider, not how a picture can be painted naturally by an individual body, but rather, how to obtain an unnatural "painting body" that responds to demands made by a picture. A long time has passed since I came to this conclusion.'
—Nobuya Hoki (excerpted from August 2019 artist statement)
Nobuya Hoki has further evolved his unique technique of painting with two brushes simultaneously to create doubled lines comprising color separations of black-one dark blue and one reddish brown. For many years, Hoki has addressed the themes of 'ground' and 'scale' in his works. Since 2012, he has inserted 'dirt' into the ground, which had hitherto been understood as a neutral space in and against which figurative lines created forms. His latest work, based on the new idea that the roles of dirt, line, and ground are determined posteriori through their relation, realize a complex spatiality. Additionally, focusing on the physicality of abstract painting, Hoki has started to produce canvases of various sizes. The creative lines and forms, and their relation, indicate the physicality of the work as well as potential plentitude of painting.
Nobuya Hoki was born in 1966 in Kyoto. After completing his masters at the Kyoto City University of Arts, he has been based in Kyoto. He has exhibited at ASSEMBRIDGE NAGOYA 2017, Former Minato Dormitory of Nagoya customs, Aichi (2017); Spider's Thread - Spinning images of Japanese beauty, the Toyota Municipal Museum of Art, Aichi (2016); NEW PHASES in CONTEMPORARY PAINTING A Curator's Message 2012, the Hyogo Prefectural Museum of Art, Hyogo (2012); Texture and Sense (Kime to Kehai), the Aomori Contemporary Art Centre, Aomori (2012); Garden of Painting, The National Museum of Art, Osaka (2010). His work is included in the collections of the Toyota Municipal Museum of Art, Toyota; The National Museum of Art, Osaka; the Takamatsu City Museum of Art, Kagawa; the Okazaki City Museum, Aichi.
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