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yoshinobu nakagawa:ridges on the table
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Published: April 09 2009

© Yoshinobu NAKAGAWA / Courtesy of taguchi fine art, ltd. copyright(c) Yoshinobu NAKAGAWA / Courtesy of taguchi fine art, ltd.

Born in Osaka in 1964, Yoshinobu Nakagawa now resides in Shiga prefecture. Ever since his first one-person show in 1987, the year he graduated from Osaka University of Art, Nakagawa's motif has been consistently plants or relationship between plants (nature) and human being (farmer), or agriculture and cultivation, which is fundamental work to us. His artisanship, which freely controls every kind of materials and the poetic emotions sprung from the naive form of his work, has attracted many people. This is his fifth show at taguchi fine art, ltd. Nakagawa has been creating works titled "ridges on the table" of which motif is the form of field and continuous ridges on it since around 1992. They are oblong or oval shaped relief sculptures made of reclaimed paper, cotton cloth and cowhide. On those surfaces, they have some linear projections like "ridges" on the field. This installation consists of only these works. For Nakagawa, the process of producing art works has something in common with farmer's activity and his physical action. He also finds analogy between the place where artist works and the earth where farmer works, and regards the former as a "table". This is because "table" is not only the familiar thing on which he actually draws and paints, but also has ambivalent character that it exists as a three dimensional object and, at the same time, appears to us as a two dimensional flat plane. Nakagawa, who studied at the painting course at university, having produced and exhibited mainly three dimensional works however, has been seeking for an answer to the question, "what is the essential qualities of painting (two dimensional work)", through the examination of such a moment of the transition from two dimensional to three dimensional and from the three dimensional to two dimensional. The question also leads him to the counter-question, "what is the essential qualities of sculpture (three dimensional work)". When looking relief works, the viewer's concern would be teetered between "the expanse of the flat surface - painting, two dimensional" and "the structure inside - sculpture, three dimensional". * The text was provided by taguchi fine art.

Last Updated on May 16 2009

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