SHOHEI TAKASAKI : Looking at Debris SidewaysPost date：2024-01-09
Updates：2024-01-09
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- Event Time
- 2024-01-02~2024-02-07Tue. - Sat. 12:30 -18:30
- Event Location
- 3F, 97 Sec. 2 DunHua S. Rd, Da'an Dist., Taipei City Taiwan, R.O.C
Each Modern is delighted to announce that Shohei Takasaki: Looking at Debris Sideways will be held from 2January 2024. The title of the exhibition itself suggests a unique perspective, a sideways glance at the often overlooked or discarded.
In creating the pieces for this exhibition, Takasaki drew inspiration from a wide range of sources spanning diverse eras and categories. The importance of art history took a secondary role; rather, the emphasis was placed on the purely visual fulfillment that these references provided. By divorcing them from their contexts and stories, Takasaki purified his interaction with these images to one of aesthetic engagement only, in an
attempt to bypass calculated intellectual processes and connect with the instinctive drive within himself. Though the idea of referencing images without considering their context and history could be dangerous or disrespectful, Takasaki remains keenly aware of positionality in art history– indeed, this is perhaps what allows him to transcend it. The appeal of his works lies in his ability to extract the very energy of art historical transitions and revolutions and channel them through his own hand. This
unpredictability is a symptom of his receptivity, to the past and also to the present: he also drew inspiration from everyday stimuli such as random fragments of photographs
discarded on his studio floor, paper towels dirtied with random abstract marks, doodles on the wall drawn by his son, scribbles from idle moments on the phone, and the sight of people running through a hailstorm outside his studio window. These mundane objects and moments– these “scattered debris” which get buried under the rubble of everyday life-- were collected from his conscious and subconscious and repurposed into catalysts for his creative process.
In creating the pieces for this exhibition, Takasaki drew inspiration from a wide range of sources spanning diverse eras and categories. The importance of art history took a secondary role; rather, the emphasis was placed on the purely visual fulfillment that these references provided. By divorcing them from their contexts and stories, Takasaki purified his interaction with these images to one of aesthetic engagement only, in an
attempt to bypass calculated intellectual processes and connect with the instinctive drive within himself. Though the idea of referencing images without considering their context and history could be dangerous or disrespectful, Takasaki remains keenly aware of positionality in art history– indeed, this is perhaps what allows him to transcend it. The appeal of his works lies in his ability to extract the very energy of art historical transitions and revolutions and channel them through his own hand. This
unpredictability is a symptom of his receptivity, to the past and also to the present: he also drew inspiration from everyday stimuli such as random fragments of photographs
discarded on his studio floor, paper towels dirtied with random abstract marks, doodles on the wall drawn by his son, scribbles from idle moments on the phone, and the sight of people running through a hailstorm outside his studio window. These mundane objects and moments– these “scattered debris” which get buried under the rubble of everyday life-- were collected from his conscious and subconscious and repurposed into catalysts for his creative process.
