UK green – Japanese green RYUTARO IKEDA Exhibition

Date: 6 – 29 January 2010
Venue: CANARY WHARF Window Gallery (Art gallery1,2 Canada Place opposite Waitrose), Canary Wharf, London E14 5AB
Email:
mail@ryu-taro.com
Web: http://ryu-taro.com
Organiser: Public Art Canary Wharf

I am pleased to present my oil painting exhibition of the UK and Japanese green landscapes at Canary Wharf Window gallery. Two large oil paintings, one of a Japanese wooded landscape and one of a green avenue of trees in the UK will be exhibited. It is essential for me to place my body directly in the space I am painting. Therefore I set up my easel in the location of the object of interest and create my work through the relationship of body and space. I think that with this exhibition you can fully appreciate the differences between the UK and Japanese landscapes that may not be observed unless they are in a painting.

Present question to ‘See it’ and ‘See’
For me, to produce an oil painting I must actually set up my easel in the physical location of the object of interest rather than bringing the object into the studio. I wish to communicate the idea of the bigger picture. I achieve this through the relationship of body and space. It is essential for me to place my body directly in the space I am painting in order to feel the “existence of air” at the site. I need to create a relation between actual independent feeling and the object found at the site. Putting myself in a real space enables me to synthesize all of my senses in order to reach a new level of drawing. The volume of form and space are therefore depicted even on a canvas in which the focus is on a single leaf. A feeling of the space and distance between objects finds expression on the canvas. My ultimate aim is to create works that move the viewer emotionally, as if they were experiencing the exact sensations that I did in the place and time when a work was painted. For me seeing is not merely a natural act, it is still filled with the charm of the search. I chose water and forests as a place for that search. I’m trying to make a new universality through which traditional methods are reproduced; valued techniques such as the way the brush is carried for example. I want to distinguish between to ‘see’ and to ‘see it’ by drawing from an all round viewpoint. I believe in the power of paints and brushes, and I take my drawings extremely seriously.

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