Yuki Kimura
Inhuman Transformation of New Year's Decoration, Obsolete Conception or 2
13 Dec 2016 - 25 Feb 2017
Yuki Kimura
Inhuman Transformation of New Year's Decoration, Obsolete Conception or 2, 2016
installation view, Wattis Institute
Courtesy of the artist and Taka Ishii Gallery
Photo: Johnna Arnold
Inhuman Transformation of New Year's Decoration, Obsolete Conception or 2, 2016
installation view, Wattis Institute
Courtesy of the artist and Taka Ishii Gallery
Photo: Johnna Arnold
YUKI KIMURA
INHUMAN TRANSFORMATION OF NEW YEAR'S DECORATION, OBSOLETE CONCEPTION OR 2
13 December 2016 – 25 February 2017
Curated by Jeanne Gerrity and Leila Grothe
Yuki Kimura translates abstract ideas into tangible objects. Her conceptual approach involves borrowing elements from architecture, design, photography, and sculpture in service of making the immaterial material. She often includes found photographs, but their subject matter, composition, and context are subordinate to their presence as physical objects.
The elements in this exhibition of new work are doubled and multiplied. Pairs of photographs are blown up to human scale and hung side-by-side on a wall or transformed into matching tabletops. Ashtrays and liquor bottles are scattered across these tables like constellations or architectural models. Identical twin images reference a traditional Japanese New Year’s rice cake that represents the idea of a mirror, as well as a western philosophical concept of time in which past and present are intertwined. Opening in one year and ending in another, the entire exhibition acts as a New Year’s decoration.
INHUMAN TRANSFORMATION OF NEW YEAR'S DECORATION, OBSOLETE CONCEPTION OR 2
13 December 2016 – 25 February 2017
Curated by Jeanne Gerrity and Leila Grothe
Yuki Kimura translates abstract ideas into tangible objects. Her conceptual approach involves borrowing elements from architecture, design, photography, and sculpture in service of making the immaterial material. She often includes found photographs, but their subject matter, composition, and context are subordinate to their presence as physical objects.
The elements in this exhibition of new work are doubled and multiplied. Pairs of photographs are blown up to human scale and hung side-by-side on a wall or transformed into matching tabletops. Ashtrays and liquor bottles are scattered across these tables like constellations or architectural models. Identical twin images reference a traditional Japanese New Year’s rice cake that represents the idea of a mirror, as well as a western philosophical concept of time in which past and present are intertwined. Opening in one year and ending in another, the entire exhibition acts as a New Year’s decoration.