approach focuses on creating an experiential work for the viewers to realize
visual stimulation just like that of Italian Baroque in terms of spatial depth,
dynamism, sensuous richness, drama and vitality. In addition, my
research and investigation in painting cover critique of painting and its
pictorial presentation, based on the notion of painting being illusional and
transient. I also question the boundary between pictorial presentation of
philosophical prospect (abstract paintings) and philosophical assimilation of
Consequently, the time,
environment and society that we live in influence our perception and
recognition. Whether it is
culturally, racially or politically biased, we certainly have different views and
cognitions these days perhaps largely due to abundance of information available
from the wide range of media for the condition and climate we face everyday.
main focus in painting deals with the issue and notion of perception,
assumption, conception and recognition.
After all, painting is basically illusion created by color and
composition on two-dimensional surface. What we see may not be what we think it
is. This deception and illusion
fascinates me, because that is exactly how we conduct ourselves. We come to the conclusion from our observations
(perception/comprehension), but our conclusion may be merely an assumption.
What signifies our conclusion to be an objective truth? If what we see is just an
illusion, what exactly are we perceiving?
That is very characteristic of painting that fascinates me. This type illusion is not like trickery,
but it is rather transient illusion.
intention is to create seemingly static composition but ever expanding/compressing
spatial depth to illustrate my philosophical prospect of abstract paintings as
a tool especially with the shimmering effect of colors (metallic, iridescent,
pearlescent or highly saturated colors) that are evident from multiple viewpoints. In my figurative work, I am toying with
the idea of pictorial representation (perception) as my philosophical
assimilation with rather muted colors and low contrast; thus, the image will
not appear immediately. Therefore, it creates the paradoxical dilemma of viewing
practice: more pronounced image from afar vs. less pronounced image in the
intimate distance. Another words,
in my figurative work, I am focusing on the interaction of
perception/recognition with the contradiction of intimacy.
work also reflects the notion of finish fetish typically falls in the tradition
of west coast school of art making. Physically smooth and gloss finished
surface are also incorporated to point out the contradictory aspects of the
skilled craftsmanship and the absence of authorship as the work is merely an
opportunity to experience. My figurative paintings have similar finish as well;
however, the finish adds more of soulless and empty quality for its reflective
on the surface along with much more muted colors to play against the idea
behind. Another important bearing
in my work has to be the way the paint is exercised: I strongly believe that in
the successful work, the paint transcends beyond just the paint and becomes the
substance in which another reality is created. Lastly, my abstract paintings usually
can not be photographed well in their true nature as none of above mentioned
color palettes. In this fashion,
the intended interaction befalls only physically right in front of the viewers
for its true experience.
Rex Yuasa 2017