Popelier ポペリエ
Solo Show 個展

First exhibition at galerie popelier

The origins of my paintings began in the late 90s, with the first one being a purely decorative piece to brighten up a drab wall in a small apartment in Sydney, Australia. To be honest, I am not sure why I chose a five-pointed star as my central motif. At the time, I was looking for a versatile, dynamic, iconic, and easily recognisable shape and it was not until much later during some research, I found that this star can be traced back to Ancient Egypt and the goddess Sopdet, who represents Sirius, the brightest star in our night sky, and is sometimes depicted with a five-pointed the star above her head. Sopdet is also sometimes depicted with a narrow triangle above her head. This triangle has an angle of 18 deg., and this measurement is the basis of all the angles, all multiples of 18, of the star that I use. Incidentally, this is why she is also known as The Sharp One. These historical, mathematical, and astronomical elements made strong impressions on me and created a stronger connection with this symbol and its versatility. It is so prevalent throughout human history, that it truly is a global icon that has been used so many ways, but it is so taken for granted these days, that very few people are aware of its origins.
The first paintings I did were basically flat blocks of hard-edged minimalist colour with a few visible brush strokes, but which after a while became unsatisfying. They also looked pedantic and stiff. While keeping with the star motif, but to contrast against the hard edges, I wanted to add more expressive, random, and accidental elements.
Starting with experimenting in creating subtle textures with pieces of cut newspaper pasted on to the canvas, I found there were happy accidents when paint was applied as the brush caught the edges of the newspaper pieces causing paint to collect or to gently skip the surface. This was the imperfection I was looking for, resulting in a grungy, unfinished look that contrasted with the attention to detail and hard edges caused by using masking tape. Since then, this contradiction in techniques in the same painting and finding a good balance between them has fascinated me. In some ways, I was looking for something like a screen-printed feel to the work and it would have been much easier and much quicker to use screen print techniques and saved lots of masking tape, but on the other hand, spending hours cutting up and pasting bits of newspaper and masking out stars can be quite relaxing. Another interesting contradiction that has resulted from this, is that preparation time is far longer and more involved than actual production time, and often more therapeutic. Colour combinations were also chosen more on instinct than by thought.
It is never good to sit or stand still, however, and I am always looking for new ways to develop. Using whatever is available around me to create, has been one principle I have always tried to adhere to, probably a throwback to childhood, and I have now added experimentation with other materials that I have collected, been given, or picked up over the years, including found objects, stickers, gold and silver leaf, and creating relief stars with levels of foamboard, making the paintings more 3D and more tactile. Also, as well as continuing to use newspaper, I am trying to increase the number of recycled materials that I use, for example, card, old kakejiku (a traditional hanging scroll), scraps of wood and unwanted canvasses .
It is this idea of recycling that has led me to take photos of my own paintings and use these images in digital compositions, expanding yet further creations with the star motif. These images are placed in Photoshop along with photos of textures that I use, either taken by myself or found on the internet.
Sopdet’s star has seemingly endless unique uses and variations that I can create with.
Last year, I considered ways to sometimes relay a subtle message or messages in my work. I do not want to dictate, preferring to provoke thought, and bring more depth to my mostly decorative paintings. Artworks created with this new direction, will be shown in a solo show at igu-m-art in Osaka in September this year.
Since returning to Japan in 2015, I have been encouraged by the important confirmation that I should follow the direction of my search for a mutual cultural visual language and continue to develop a universalism in my painting and create a visual style that everyone can appreciate and relate to using my experiences from living in three quite different world regions and their influences in design, colour, and light.
When this is all over I do not want to be remembered as the guy who just did stars. I want my paintings to express a visual language or message that appeals to all. I would like to be a truly international artist.
Popelier Osaka 2021

原点 (オリジンズ)
私が最初に描いた作品は基本的にはハードエッジなミニマルカラーの平面ブロックで、わずかなブラシストロークが見える程度のものでしたが、しばらくするとそれに満足ができなくなりました。こだわりが強すぎて 堅苦しい印象もありましたので、星のモチーフはそのままに、ハードなエッジとは対照的に、もっと表現力のあるランダムで偶然性のある要素を加えたいと思いました。
ポペリエ 大阪 2021年

Wed 7th July – Tue 27th July 2021
Closed: Suns 11th, 18th & 25th, Weds 14th & 21st
2021年7月7日(水) – 7日27日(火)
休廊日: 11日(日), 14日(水), 18日(日), 21日(水), 25日(日)

カテゴリー: exhibitionspast