Image: Kirico Tanikawa - Red Lighter
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?
Here are paintings of semiotic maps in which the stitching of a shoe or clear fluid in a plastic lighter can be no more revealing than the invisible noise of rain on tarmac.