Lacquer, Leaf Gold and Crashed Shells – On Noriyasu Soda‘s Work
Soda‘s works resemble vital bodies, their surfaces are skin-like, reflecting the viewer as the One in a very spontaneous, limited portrait. The artist‘s examination of historical portrait formats, lead to an exceptional combination of historical japanese laquer techniques and present-day contemporary artistic positions. For the works you see at ANMO, Soda used a traditional Japanese lacquer technique. The base for the lacquer contains, among other components, fluid from 35 Japanese lacquer trees. The working process requires absolute concentration, careful crafting and lots of time. Layer after layer, the lacquer needs to dry out in a warm, humid climate.
Three of the lacquer paintings are plainly black, on three of them, Soda used leaf gold and crashed mother perl shells on the remaining one. The results are stunning. But beneath the image‘s surfaces processes of transformation are constantly at work. Since leaf gold oxidates over time, the pieces will not stay the same but darken gradually. So, one crucial element of Soda‘s works is that the pieces never arrive at a definite, ‘completed‘ state because of their material properties. The actual image you see, is in constant recreation, it mirrors and creates the figurative within the abstract.
John Cage, 4“33
Noriyasu Soda, new works
and special silence from Noriyuki Haraguchi
09.06.2017 – 31.07.2017