Shinichi Maruyama Sculptural seconds: Water meets Ink

 

Shinichi Maruyama was born in 1968 in Nagano, Japan. Surrounded by beautiful mountains, in High School he became immersed in mountain climbing, and wanting to preserve the stunning landscapes began taking photographs. He started his professional career in Tokyo in 1993, 10 years later relocating his studio to New York City in search of more global opportunities.

As a young student, He often wrote Chinese characters in sumi ink. He loved the nervous, precarious feeling of sitting before an empty white page, the moment just before his brush touched the paper.

“Once your brush touches paper, you must finish the character, you have one chance. It can never be repeated or duplicated. You must commit your full attention and being to each stroke. Liquids, like ink, are elusive by nature. As sumi ink finds its own path through the paper grain, liquid finds its unique path as it moves through air.”

Remembering those childhood moments, of ink and empty page, he fashioned a large ‘brush’ and bucket of ink.

“I get the same feeling, a precarious nervous excitement, as I stand before the empty studio space. Each stroke is unique, ephemeral. I can never copy or recreate them. I know something fantastic is happening, “a decisive moment”, but I can’t fully understand the event until I look at these captured afterimages, these paintings in the sky.”

Twenty-five photographs and videos immortalize the choreographic moment in time where water meets ink and are the remembrance of the milliseconds where these sculptures exist.

 

Photos and video: Shinichi Maruyama | Youtube

Jeff Koons: New Paintings

Jeff Koons was born in York, PA in 1955. He obtained a B.F.A at The Maryland Institute, College of Art, Baltimore, and also studied at the Art Institute of Chicago. Since his emergence in the 1980s Jeff Koons has blended the concerns and methods of Pop, Conceptual, and appropriation art with craft-making and popular culture to create his own unique iconography, often controversial and always engaging. His work explores contemporary obsessions with sex and desire; race and gender; and celebrity, media, commerce, and fame. A self-proclaimed “idea man,” Koons hires artisans and technicians to make the actual works. For him, the hand of the artist is not the important issue: “Art is really just communication of something and the more archetypal it is, the more communicative it is.”

New paintings by Jeff Koons will be shown in the Gagosian Gallery, Beverly Hills, U.s.a. The vernissage of this exhibition will be on November the 14th 2009 and the exhibition will run until January 9 ,2010.

Koons’ new paintings are ambitious in their breadth. They engage in a dialogue with cultural history that is at once visual, intellectual, biological, and philosophical, as well as with art history, from the Venus of Willendorf to Gustave Courbet and Salvador Dali. At first glance the works may seem abstract and gestural, but at the same time they are embedded in the traditions of figurative painting. The brush strokes, which are photo realistic in their application, are actually fake brush strokes in the style of Roy Lichtenstein but at the same time they support the totality of gesture and action in life itself. The visual quality of Cy Twombly’swork is a reference as is its embodiment of the existential issues of what it means to be an artist. The depth in these paintings is figurative depth; the painted dots create holograms, giving an illusion of depth of field that is similar to that which exists between the viewer’s plane and the figure in Courbet’s L’Origine du Monde. The dot overlay represents past technologies, like color television, to remind the viewer of change and mortality. Through his ongoing exploration of cultural history and sexuality, Koons draws attention to time past, present, and future.

Photos Jeff Koons | Gagosian Gallery