Taro Izumi
25 Jan - 09 Mar 2013
Exhibition view "The Source of Wrinckles", Galerie GP & N Vallois, Paris
(25.01- 09.03.2013)
© Aurélien Mole
(25.01- 09.03.2013)
© Aurélien Mole
TARO IZUMI
The Source of Wrinkles
25 January - 9 March 2013
“The source of wrinkles in the hair on the back/The thick water (accumulates in a hole in the belly)”
Energy can render seemingly fixed elements unstable. We often see this instability at work in our dreams, but in reality numerous events triggered by man must accumulate. Creative processes make it possible to test out this instability and render the invisible visible, like probing inside the artwork.
Recently the earth shuddered so hard that we found it impossible to remain standing; the electricity poles and buildings were shaken violently, as if they were made of rubber. The whole city seemed made of unreal forms of matter.
These events took place without warning, but an invisible force is in permanent movement beneath the ground. This force grows imperceptibly and suddenly reveals itself through an earthquake.
Disasters like these have nothing to do with magic, nor with any kind of a curse. They can be perfectly natural happenings, like when you tug on a tablecloth and the tea spills, but hundreds of millions of times stronger. This kind of incident is part of everyday life.
But these cataclysms bring the realisation that the earth cannot be kept still; its “guts” are in perpetual movement.
For this exhibition I am trying to immobilise the elements of a world in movement. But even so, how could I create a work in a near-static setting?
In my works a state and a process can be observed simultaneously, as if I were able to reveal at once the envelop and the guts of painting and sculpture.
Using video is almost like touching the “internal organs” of the world.
Creating installations in a constructed space is a little like laying bare your bones and organs.
Taro Izumi
The Source of Wrinkles
25 January - 9 March 2013
“The source of wrinkles in the hair on the back/The thick water (accumulates in a hole in the belly)”
Energy can render seemingly fixed elements unstable. We often see this instability at work in our dreams, but in reality numerous events triggered by man must accumulate. Creative processes make it possible to test out this instability and render the invisible visible, like probing inside the artwork.
Recently the earth shuddered so hard that we found it impossible to remain standing; the electricity poles and buildings were shaken violently, as if they were made of rubber. The whole city seemed made of unreal forms of matter.
These events took place without warning, but an invisible force is in permanent movement beneath the ground. This force grows imperceptibly and suddenly reveals itself through an earthquake.
Disasters like these have nothing to do with magic, nor with any kind of a curse. They can be perfectly natural happenings, like when you tug on a tablecloth and the tea spills, but hundreds of millions of times stronger. This kind of incident is part of everyday life.
But these cataclysms bring the realisation that the earth cannot be kept still; its “guts” are in perpetual movement.
For this exhibition I am trying to immobilise the elements of a world in movement. But even so, how could I create a work in a near-static setting?
In my works a state and a process can be observed simultaneously, as if I were able to reveal at once the envelop and the guts of painting and sculpture.
Using video is almost like touching the “internal organs” of the world.
Creating installations in a constructed space is a little like laying bare your bones and organs.
Taro Izumi