Frantic Artists at POSITIONS Berlin Art Fair 2015 Atsushi Koyama, Taisuke Mohri, Haruki Ogawa, Cousteau Tazuke 2015.09.17 (THU) - 20 (SUN) Arena Berlin
Frantic Gallery is happy to return to POSITIONS Berlin 2015 Art Fair, this time in the enormous Arena Berlin right at the river Spree in vibrant Kreuzberg area. This autumn we will present 2 pair of artists, which demonstrate some radically opposite sides of artistic expressions. Haruki Ogawa and Cousteau Tazke will be exhibiting their ideas on the structure of abstract painting, new subversive approaches to two-dimensional expressions and the work with vibrant colors and textures. Atsushi Koyama and Taisuke Mohri will show their approaches to the modes of representing reality and technical aspects of the images either as a method in hyperrealistic drawings by Mohri or as a motive in man-machine paintings of Koyama.
Haruki Ogawa:In his recent paintings, while working on idea of "echo" and "resonance", Haruki Ogawa develops the basic structure of the painting and using canvases of different color tones and textures bring them into the visual dimension of depicted actions.
Haruki Ogawa, The Accumulation of Rhythms VI, oil, alkyd paint on black and white canvas, 85.6x95.3x6.3cm, 2015
Cousteau Tazuke:After the successful presentation of Cousteau Tazuke's "Works with acrylic surface...." in Hengevoss Duerkop Gallery in Hamburg as a part of "A Day in The Life of..." show we'll be happy to present this artist at upcoming edition of POSITIONS and show it to our friends in Berlin.
Cousteau Tazuke, The work with acrylic resin surface 2012.03.06, 100x100cm, 2012
Atsushi Koyama: A machine - the simplest rotating devices of mechanical nature - come apart and expands on black background of Atsushi Koyama's canvases while parts of human body gently and with care hold, elevate or support the running parts.
Atsushi Koyama, Undefined 20, oil on canvas, 97x130cm, 2015
Taisuke Mohri: Created by pencil image (face or flower) is covered by the layer of glass with cracks in it. The Material Cracks enter the representation producing distinctive and blurry segments of an image as if parts of the depicted object are behind the window during rainy day. The Crack in substance becomes The Line in the image. From another side the seemingly 3-dimensional object "rushes out" from the flat surface into the mesh of broken glass merging with physical dimension, becoming a part of embodied reality.
Taisuke Mohri, The Cracked Portrait #5, pencil on paper, glass, 95.2×69.4×6cm, 2014
