The second part of Pump Prax was an installation of 17 new paintings, 15 works on paper and 2 larger acrylics on canvas by the artist Hiromi Nakajima.
So we have a show in 2021 situated in an isolated room of a house in the French countryside, only experienced by the public via social media, with the documentation now available to view on YouTube.
This was preceded by Pump Prax - The Performance, a reading from Hiromi Nakajima at Infinity Books in Tokyo, again the focus was on the virtual as this event was live-stream on Instagram @waugh.office.
Pump Prax framed the In-Line experience that become the newnorm in 2020 when a series of global lock-downs forced a repurposing of the workplace, intimacy and our spacial sensibilities.
The dynamics of image endorses a question: Is what you see what I see?
An attempt to depict the performativity of painting, as it has a mysterious interaction between lines and colours, in space, an order of form, basically and/or onto a two-dimensional format.
Yet not limited to, or in accordance with the context of contemporary art, my work focuses on the fundamental domain of painting that compiles the image in iteration that keeps reproducing and collapsing, evoking fluidity.
This manifestation revolves in my thoughts, colours and lines have theatrical effects which forcefully stretch the meaning by shifting angles. The kinship with these materials of painting interpret an aesthetic organism: recycling what it has become for what it will be, through our eyes and experience towards cognitions.
I imagine a flight to Tokyo, the seats are full, the Olympian quest of distant travel.
I imagine people, other places, different voices, did someone cough?
I imagine a gallery, paintings on walls, the fluid colours of biology.
The windows are white in the photos, it's as if the room was suspended by clouds, a ship of pictures afloat upon invisible waves throbing through masts of the 5G towers.
Do you believe in telepathy?
Has this exhibition by Hiromi Nakajima entitled Pump Prax really happened or could an imagination conjure it: Abandoned room in the French countryside, Tick: Walls of mud and straw, Tick: Paintings pinned and blue-tacked to the damp surfaces that flutter and fall onto dusty floors: tock.
Do you believe in ghosts?
I was told the images suggest the interior of a living body, but the artist was absent and there is no audience. The realities of doing and being creative that for Hannah Arendt makes us free, finds resonance in an empty space accessed only via Social Media.
We can try and repurpose as a world inhabits a prescriptive locality, whether this is actual or ephemeral. So if this moment has been the dawning of the age of technologies, paradoxically the limits that refocus our experience are recoded for the sentience of proximity ... looking out, looking in or looking at a mobile phone.
Images © Julia Waugh