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Yumiko KIDO: Vampire-energysucker-
Reviews
Written by Satoshi KOGANEZAWA   
Published: December 21 2009

fig. 1 "fa, ra, re, re, do, si, ra, ra, ra, ra, mi, mi, fa" (2009); oil and acrylic on canvas, 112×162cm, courtesy of the artist and YOKOI FINE ART, copy right(c) Yumiko KIDO

fig. 2  "#so, ra, mi, so" (2009); oil and acrylic on canvas, 130.3×162cm, courtesy of the artist and YOKOI FINE ART, copy right(c) Yumiko KIDO

fig. 3 "mi, fa, ra" (2009); oil and acrylic on canvas, 26×36.5cm, courtesy of the artist and YOKOI FINE ART, copy right(c) Yumiko KIDO

     At first glance, a refreshing landscape of sea seems to be depicted in the painting. Over the horizon, something like the morning glow or a sunset can be seen. Nonetheless, looking at the picture closely, I notice a black hole is drawn in its center [fig. 1]. What is this hole? Waves come together around the black hole, giving me the unsettling impression as if the god of the sea were appearing from the hole. If there were no such a hole, the combination of the light-orange sunlight which can be found on the horizon and a landscape of the sea reminds me of Claude Monet’s “Impression, soleil levant” (1873). Even if I had not recalled that work of Monet’s, such a combination would make me feel comfort rather than discomfort.

     This may be due to an image of sea which cultivates creatures, or, from more philistine perspective, an image of the open and sybaritic sea in summer. My image of the sea is positive rather than negative. Nonetheless, needless to say, one wrong move would transform even such an affirmative image of the sea into an impression of death. Sea-related accidents happen every year, even though most of us are not involved with them. The seas which have increased their power due to typhoons or rainstorms often cause crucial damage to our daily lives. Therefore, the “hole” which is depicted in this work - even though it does not give us its concrete image - would remind us of the essential unsettledness of sea, namely, a violent image of the sea which not only cultivates our life but threatens it.

     Immediately after entering the gallery, I encounter this introductory work before me. I start to view the other exhibits as if going deep into the hole drawn in the above-mentioned work. Looking around the exhibition room, I feel all the creations displayed on the walls leave a disturbing impression. For instance, the work entitled “Sol# La Mi Sol” (oil acrylic on canvas, 130.3cm×162cm, 2009) [fig. 2], the largest in size among all the exhibits, makes me wonder what has happened to the woman depicted in it. The woman (probably young) holds a rose in her mouth while showing her white teeth. Only this makes me feel strange. However, we can seeem some bleeding from the corner of her mouth and drops of the blood are dripping down from leaves of the rose. The face of the woman is drawn only under the mouth and a part of the face gives an icy image. In addition, both the flower and the leaves have been frozen white. The warmth of the blood seems to have melted the surface of the face. Furthermore, the whiteness can be considered as that of semen. Just like the snowy landscapes drawn in Ito Jakuchu’s paintings, such a sticky texture of white as depicted in this Kido’s work calls forth a sexual image in my mind.

     Considering in the same way as mentioned above, it would be clear that some of the other exhibits, which were drawn focusing on women’s mouths in which flowers (probably lilies) are held, represent a sexuality [fig. 3]. In fact, red lips and teeth, a tongue and a flower which can be seen between lips slightly opened, must be seen as erotic imagery, but such an erotic impression as found in Kido’s works is aroused in men who are put under the control of women rather than in women who are in men’s control. Thus, the solo exhibition of Yumiko Kido entitled “Vampire - energy sucker -” shows us the almightiness of women against men. A number of men may assume that women are in their control. However, in fact, they may be in women’s hands. Or, men may wish to be manipulated with women’s tongues. Considering such a feeling as not just a sexual propensity but a return to primary motherhood (even though this may be based on too positive a perspective), it would come to be clear that the sea, mentioned at the beginning of this article, can be deemed a representation of “motherhood”. It cannot be denied that there is the possibility that my viewpoint, such as it is, is due to the fact that I am a “man”, but I would like to construe Kido’s paintings as such as described above, namely, as creations which give us erotic and nostalgic images.
(Translated by Nozomi Nakayama)

Last Updated on November 02 2015
 

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