Wood-Carving Artists: “XYLOLOGY: Origin and Starting Point”
I visited “XYLOLOGY: Origin and Starting Point,” an exhibition of 15 artists who share “wood” as a common material, organized around the questions “Why carve wood now?” and “Where is wood carving heading?”
The show is one of the projects supported by the FY2018 Taito Ward Arts and Culture Support Program, and as its title suggests, aims at the succession and renewal of wood-carving culture.
The venue itself is remarkable: the former residence of Denchu Hirakushi, a Japanese sculptor who flourished as a master of modern wood carving.
What is hanging from the 2nd-floor veranda is a work as well — Kumiko Negami, 《The Summer Triangle》
1st Floor
Works were installed throughout the two-story house.
— A method in which discarded skateboard decks are layered up and shapes are carved out from that stack.
I could watch his production process from up close.
2nd Floor
Going up the stairs to the 2nd floor. Many works are on view here as well.
Compared to the 1st floor, this floor gets more sunlight, and the works — bathed in natural light — take on a texture unlike anything you get inside a white cube.
A high-profile piece that also appeared on the cover of an art magazine.
The B-BOY figure works better here than at Watari-um Museum. Work by TAKU OBATA.
I filmed Yoshitoshi Kanemaki’s production process. I look forward to seeing the finished piece.
In addition to funding from Taito Ward, the exhibition is also raising support through crowdfunding.
Since admission is free, I can only hope people will provide some form of support so that wood-carving culture can flourish further.
https://camp-fire.jp/projects/view/97658
Summary
A serious, ambitious exhibition by 15 wood-carving artists that cuts across universities and galleries.
Perhaps it was precisely because the project involved no sales that established, well-known artists could come together across boundaries — bravo to the organizers for pulling that off.
The exhibition space in a Japanese-style house is exceptional as well — the aroma of wood and the experience of walking on tatami mats made this a viewing experience I will not forget. How comfortable it is to slip off your shoes and view works while seated on tatami. The Japanese-style space bathed in sunlight was a wonderful piece of staging.
Each artist’s work also felt like a properly weighted representative piece. There are many interpretations of wood carving, and the show gestures toward many possibilities. The individual strengths converged into a cohesive, highly polished group exhibition.
The one regret is that works were not available for purchase. There should be some point at which visitors can spend money and support the artists’ practice. Even a donation box with a free-choice amount would surely have gotten some response.
I look forward to future editions of this show as well.
I want to lend as much support as I can so that this can be run sustainably.
Thank you very much.
