Frantic Gallery | Frantic Artists at AQUA Art Miami 2015

Kanata Goto, Night II, metal, nylon threads, H114×W114×D1cm, 2015, Ed.5

Frantic Artists at YIA Art Brussels Art Fair
Kanata Goto, Atsushi Koyama, Macoto Murayama,
Zen Tainaka, Cousteau Tazuke, Taisuke Mohri
2016.04.21 (THU) - 24 (SUN)
Louise 186, Brussels, Belgium

We are happy to be back in Brussels and join the first edition of Paris-based art fair YIA with 5 of our artists. The new venue in the center of the city will provide the perfect environment for the large show we are planning for this busy art week in the capital of Europe.

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More about the artists: Kanata Goto | Atsushi Koyama | Macoto Murayama | Zen Tainaka| Cousteau Tazuke| Taisuke Mohri

The tribal vibe in works of Kanata Goto in a paradoxical but no less harmonic way meets with futuristic imaginary. Geometry and architectonics intertwine here with aggressive colors and tactile feeling. Connecting prehistoric past with sci-fi type of future Goto throws together the epochs as if playing with deep and unrecognized desires on one hand and law and order on another.
Kanata Goto, Night 8, iron, nylon threads, 120x48.5x19.5cm, 2016

Atsushi Koyama will show his original experiments on the borderline of art and science. While basing his work on completed educations in both art and mathematics fields Koyama reveals the new perspective on the aesthetics of machine, possible co-existence of organic and mechanic, corporeal and automatic as well as unprecedented approaches to the creation of oil painting itself.
Atsushi Koyama, Undefined 20, oil on canvas, 97x130cm, 2015

Macoto Murayama uses cut-edge software and 3D modeling to create the synthetic image, combining soft organic forms of plants with cold visuality of technical sketches. While working on the borderline of art and science, this contemporary artist opens new possibility for Botanical Illustration in Digital Age at the same time bringing attention to the aesthetic potential of engineer diagrams.
Left: Macoto Murayama, Lathyrus odoratus L - front view - b, digital c-print, 100x100cm, 2012, Ed.8
Right: Macoto Murayama, Lathyrus odoratus L - side view - ow, digital c-print, 100x100cm, 2012, Ed.8

Zen Tainaka in a dizzying manner moves from the surface to the content of the image and back permanently fluctuating between substance and meaning and in original and witty way disclosing the essence of painterly expression.
Left: Zen Tainaka, Mt., acrylic, clay, paper on canvas, wooden panel, 91x72.7cm, 2014
Right: Zen Tainaka, Birthday Party, acrylic, clay, plastic on wooden panel, 91x72.7x7, 2015

Cousteau Tazuke's unconventional painting technique reveals intense imaginary: he carves into clear acrylic panels, pours acid-colored paint in the resulting cavities and then exhibits these works backwards, thus subverting the opposition of the front and the rear of the picture and transcending the borderline between the process of carving and the work of drawing.
Cousteau Tazuke, The work with acrylic resin surface 2015.08.11, acrylic resin, acrylic paint, alkyd paint, 91x91x4cm, 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 #8, pencil on paper, glass, 95.2×69.4×6cm, 2016 (detail)

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Frantic Gallery
Ikejiri Institute of Design 309,
2-4-5 Ikejiri, Setagaya,
Tokyo, Japan 154-0001