I visited a solo exhibition by Oscar Oiwa. Oiwa is a second-generation Brazilian immigrant artist from São Paulo, Brazil. This is reportedly his first solo exhibition in nine years, since his 2009 presentation in Beijing.
Upon entering the gallery, large canvases command the space, yet the motifs and tones are unified, giving the sense that the works come together as a single package.
Aerial or bird’s-eye compositions are used, evoking the Google Maps that modern viewers are so familiar with. Yet Oiwa’s characteristic warm palette and gentle brushwork come to the fore, giving a sense of familiarity like landscapes seen somewhere before, nostalgic in feeling.
While Japanese scenes appear, Oiwa also seems to have painted works depicting the outskirts of Los Angeles (note the pool in the landscape).
The exhibition’s title is “Ginza Filled with Light,” but no works actually depict Ginza as their motif. The title seems to derive from the fact that it is being held at a gallery in Ginza. That said, “light” is a common thread running through every work on view.
Even in what appear to be pastoral landscapes, orb-like points of light are painted in, building a fantasy-like world. There is an atmosphere reminiscent of a children’s picture book, yet the balance that lets it stand as a work of art is quite distinctive.
Works evoking disasters were also on view, and I found the skill of confining the more edgy expressions to specific portions of the work — while still communicating fully — deeply admirable.
The work I found most compelling was “Chalana 3.”
This work depicts two boats crossing in accordance with maritime traffic rules.
Although no figures are painted, the piece — informed by Oiwa’s Brazilian background, its historical resonances, and the green plants covering the waves — comes across as a work that interrogates “life,” and it left a strong impression on me. Here again, a small yellow light appears as a symbolic icon of peace, warming the heart.
Among the works on view, one had a notably subdued tone: “Moon Reflex.”
The moonlight seems to illuminate the wake of a tanker floating on the sea. Rather than what lies ahead, the piece captures the voyage that has already been traveled. The exquisite balance between the single line of the wake and the position of the full moon offers an indescribable sense of calm.
Other works are just as compelling, drawing the viewer in the longer one looks.
There were few small works — this became an exhibition that magnificently rendered large-scale pieces.
Because they are large-scale works, prices were quite substantial, but this was an overwhelming solo show that no art book could ever convey.
Encountering the warm works of Oscar Oiwa, I felt rich emotions come flooding back, and left the venue with gratitude.
