The world is not in isolation – Kohei Akiba, Kiyono Kobayashi, Yuta Wada
The group exhibition “The world is not in isolation” organized around works by Kohei Akiba, Kiyono Kobayashi and Yuta Wada was held from May 21 to June 11, 2015 at the Liusa Wang Gallery, each of these artists gives us a new perspective of art and reality. This is a new essay since the exhibition “Faces of Kohei Akiba” in 2014, which focuses exclusively on the most recent generation of Japanese artists. This time, Akiba brings two Japanese artists to the fertile imagination: Kobayashi and Wada, whose mission is to showcase the glory of contemporary Japanese art.
Kohei Akiba, born in Tokyo in 1982. Since 2009, after finishing his studies of oil painting at the Tokyo University of the Arts, a new artistic adventure has started in a fanatical way: self-portrait of wild style.
Let’s say clearly that some of Kohei’s paintings remind us of beautiful sculpted works. He often prefers to use unstable lines and unusual shapes to better express his strong feelings.
In front of his paintings, especially when one has managed to get rid of preconceived ideas, we could see immediately that there is an internal struggle of the artist, who does not stop questioning the meaning of his own existence, shaking the heart of the spectator.
Kiyono Kobayashi, born in 1982 in Ehime, graduated from the Imaging Arts & Sciences section of the Nihon University Film Department.
His double passion, plastic and literary art, offers him the opportunity to create his own way of expressing art: embroidery & e-mail.
In his work of art “Children of light”, 7 e-mails are represented completely in embroidery corresponding to the 7 different colors. These embroidered melos expressing the most subtle and personal impressions about the life and cognition of the artist’s world. As far as content is concerned, each of them naturally shows a poetic sensation and the new essay, “off-screen e-mail”, awakens the literary passion of the spectators.
Yuta Wada, known by her paintings in the form of “paving” in the middle of the new Japanese artistic generation. In front of his creations, periodic, aperiodic, even quasiperiodic paving that brings us back to a marvelous “Alhambra” palace.
Wada expressly abandons Escher’s former model, which was famous for its mathematical design but also gives the audience a strong sensation in the coloring of the artist’s “tiling” and mental relaxation.
Superlative realism, on the other hand, greatly hampers the potential emotions of creative objects, but the meaning of art is to offer the true human feeling in the most precise way possible.
Although there is a great deal of dissimilarity between these three artists, and especially at the level of creative style or even of personal character, there is no reason to separate them abruptly because all three fully represent the whole new Japanese artistic generation who deliver us liberally their real and precise feelings. It is also a very good opportunity to discover the Japanese artistic development during this decade with regard to contemporary art.