Rhythm mode, Oyasumi mode/ 2022/ acrylic on canvas/ 45.5×33.3cm
Ryoko Furukawa
"mawaruhane-wo-kiru/haru"
<completed>
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10 June. - 27 June. 2022
Open: on Friday, Monday 1-7pm / on Saturday, Sunday 11am-5pm
Venue: MONO.LOGUES
Instagram: www.instagram.com/mono.logues_/
*In Response to the Novel Coronavirus
・Please refrain from coming to the gallery if you have any symptoms such as fever or cough.
・Please wear a mask and disinfect your hands with alcohol at the entrance.
・Please note that if the gallery space is crowded, there may be a restriction on entry.
・Please note that health-related measures may change without notice.
*There is no restroom and parking lot in this space.
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This time MONO.LOGUES is pleased to announce the solo exhibition "mawaruhane-wo-kiru/haru" by Ryoko Furukawa from 10 June to 27 June.
<text /coordination by Shinzo Okuoka >
"I want to move away from myself in order to create something new," Furukawa said at the time of this exhibition. "self" is, in other words, a kind of habit. Unintentionally, the knowledge we have and the actions we take have some bias, and we design our lives in this way, but on the other hand (and In a sarcastic way), it is also full of prejudice and bias. It can be interpreted that the ideas and practices that emerge from "I" are ultimately limited by "I".
This time, Furukawa asked herself whether there could be a new painting beyond "self," and adopted a literary technique called cut-up, in which a particular text is deconstructed and reconstructed into a different text. She chopped up words that had nothing to do with her and had no connection to her, in other words, outside of "I", and linked them together, setting the resulting words as titles. She uses the title as the basis for her motifs, compositions, and paintings.
Originally, Furukawa employed a method called "staining," which is difficult to control in terms of time. The method used in this exhibition is also an uncontrollable one, but she dares to create an unstable situation that disturbs and weakens the artist's command, and to stand there while she creates her paintings. This is, in other words, an attempt to "leave oneself" and an experiment for a "new painting.
Nevertheless, Furukawa's ego, which is poured into her works, will not disappear completely. Her own judgments often appear in her works, such as the choice of words, the adjustment of colors, and the placement of strokes. Furukawa also chose the term "moving away from herself" rather than "erasing herself. In other words, one of the aims of this effort may be to take a slightly bird's-eye view of the painter and painting, a connection that is neither "=" nor "≠," like cause and effect, like fate, or like a curse, rather than to break it off. The ambiguous relationship between "I" and the work, which cannot be separated, nor do I want to unify them. How to design the distance between the two, and how to unearth the picture that is born from "I" but unknown to "I," or rather, sparkling darkly in a place unknown to anyone? We will be able to catch a glimpse of the artist tackling these questions at the exhibition.
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kosyoukana?-to-omottara, ijyoudewa-arimasen
2022/ acrylic on canvas/ 31.8×41cm
dousyokubutsu-ni-chokusetsu-kaze-wo-atenai
2022/ acrylic on canvas/ 41×31.8cm
Ryoko Furukawa
Ryoko Furukawa was born in 1994 in Hyogo, Japan, and graduated from Hiroshima City University, Department of Oil Painting in 2020, and completed the Master's Program in Oil Painting Research, Graduate School of Art, Hiroshima City University in 2022. Solo exhibitions include "About Mr. and Mrs. X " (gallery RYO, Tokyo, 2021), "The cowboy with no memory is in the gard" (gallery G, Hiroshima, 2021), and "Strangers in a strange place" (Hiroshima Art Center, Hiroshima, 2020). Her residency works include "New Reality" (Art Gallery Miyouchi, Hiroshima, 2021). Group exhibitions include "grid" (biscuit gallery, Tokyo, 2022), "Between One and One" (ARTDYNE, Tokyo, 2022), and "SLANGS" (WHAT CAFE, Tokyo, 2021).
Installation view
Photo: Koichi Nishiyama