Kirico Tanikawa
Kirico Tanikawa’s paintings are as evasive as forensic
photographs, like evidence they present a series of clues that
refuse any obvious reason or purpose. Casually objects sit
and wait for you to imagine what it all means, a mood board of
bits and pieces without script or conclusion.
Her textured landscape are empty car parks and gutters,
the twilight roads that frame our peripheral vision.
These are cinematic vignettes where
the overlooked is transformed into an urbane
reliquary as familiar as it is dislocated.
Whilst perhaps thinking how a crime scene might be rendered
or even a hint at erotic fantasy, the eye becomes entangled in
the background. These grey coloured surfaces are filled
with textures, yet principally they are images of empty spaces.
Of course nothing is ever empty and into this apparent
nothingness emerges paintings as beautiful as a Summer's day.
The gravel transformed into a small mountain range
of a crystal surface, a microscopic cartography.
Once seen we can only then contemplate the hours spent
rendering such details, are they of a Heavenly rapture or
perhaps an exercise into oblivion, is this the kind of
perspective one needs to transcend an indifferent world?
Semiotic paintings where the stitching of a shoe or clear
fluid in a plastic lighter can me no more revealing
that the invisible noise of rain on tarmac.
Image: Kirico Tanikawa - 24 April.
Artwork for sale:
photographs, like evidence they present a series of clues that
refuse any obvious reason or purpose. Casually objects sit
and wait for you to imagine what it all means, a mood board of
bits and pieces without script or conclusion.
Her textured landscape are empty car parks and gutters,
the twilight roads that frame our peripheral vision.
These are cinematic vignettes where
the overlooked is transformed into an urbane
reliquary as familiar as it is dislocated.
Whilst perhaps thinking how a crime scene might be rendered
or even a hint at erotic fantasy, the eye becomes entangled in
the background. These grey coloured surfaces are filled
with textures, yet principally they are images of empty spaces.
Of course nothing is ever empty and into this apparent
nothingness emerges paintings as beautiful as a Summer's day.
The gravel transformed into a small mountain range
of a crystal surface, a microscopic cartography.
Once seen we can only then contemplate the hours spent
rendering such details, are they of a Heavenly rapture or
perhaps an exercise into oblivion, is this the kind of
perspective one needs to transcend an indifferent world?
Semiotic paintings where the stitching of a shoe or clear
fluid in a plastic lighter can me no more revealing
that the invisible noise of rain on tarmac.
Image: Kirico Tanikawa - 24 April.
Artwork for sale:
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