Gallery Talk: April 4 (Sat) 16:00 - Akio Kawai x Akihiko Takami
As to say "under the sod", the grass is between heaven and earth and connecting them.
Behind the bush of the sod it seems to be lurking in the darkness. And the darkness somehow ever fascinate me wistfully with gentleness. Now my intention have undergone a sense of modernism seems to refind my opposition to the intense relationship developed in a long time between people and nature in the east end of Asia
Although I am writing it, I never return to the traditional representational painting.
My paintings "linen painting" in late 70s which reached at the end of the dissolution of painting are intended not to reproduce the target, nor things present themselves to the literal things. They are linen painting of the physical body support infinitely closer to the colors, lines were covered with regularly do to weave cloth. And now, my "Photo-painting" is painted by oil paint on the image (picture) itself (not as painting of reproduction), the surface of oil paint is replaced with the image of the grass. In other words, as Judd says, "open order and structure of the painting" that is accomplished utilizing a digital camera and computer software. On the process of my painting without appending anything, expressing those paintings are accomplished by filling the surface of the painting silently and minutely. The content of the expression on the painting might be the feeling itself of touch by artist's hand. And this trace itself makes the surface of the object the painting as the smell penetrates into the surface.
I assume it means that we are recovered again the image that modernism painting threw away (video and its accompanying). My paintings pasted the image of the grass, which is also contemplating to lead into a different dimension of painting through the eyes of those who see the gaps in sod.
Kawai Akio March 2009