Yukimasa Ida “King of limbs”
I visited Yukimasa Ida’s solo exhibition “King of limbs” — the final solo of his twenties. The venue was Kaikai Kiki Gallery.
I never imagined that Yukimasa Ida would hold a solo exhibition at the gallery run by Takashi Murakami. As a fan of Ida, this was a long-awaited exhibition.
With “Ichigo-ichie” (once-in-a-lifetime encounter) as his main theme, Yukimasa Ida has continued to create works centered on nature and portraits, notably in his “end of today” series.
His most recent solo exhibition in Japan was “Portraits,” held in June 2019 at GINZA ATRIUM in Ginza Tsutaya Books. This solo exhibition comes about eight months later.
Statement
I have continued to create paintings with “Ichigo-ichie” as the main theme, using nature and portraits as motifs. “Ichigo-ichie” means cherishing an encounter or bond that may only occur once in a lifetime. This is a classical Japanese concept.
This time, as a new series, I am taking on abstract paintings with landscape as the motif. The sounds, colors, rhythms, compositions, and light I sense from nature — I paint them as if carving out these ever-changing elements moment by moment.To carve nature with paint. To create the world through my work. Facing this world in this very moment, I leave behind what can only be made now.
Recently I went to Savernake Forest and Stonehenge. I was overwhelmed by the infinity nature creates, and by its cosmic sensibility. Wanting to express these, when I finally faced the canvas, I felt no need to use the “form and silhouette” I usually seek to build up in painting.
It became only color and line.
Infinite color, linear composition, and the mass of paint as a physical material — these are truly cosmic, and yet extremely real. And they allow me to fly wherever I wish. That is why I have concentrated on this series of abstract paintings.When I paint, I can go anywhere that will permit my existence.
Because painting is precisely painting, I want to acknowledge that and head to even greater heights as an artist. The rupture and construction that arise between what I face and myself. The tension of existence.That is not limited to the present — whether in the past or the future, it is boundless, and free.
Gallery Entrance
Entering the basement gallery, a bronze sculpture was displayed on the right.
Its gaze and bearing seemed to solemnly greet each visitor.
Front Room
Upon entering the front room of Kaikai Kiki Gallery, an enormous 2.4m × 4m work leaps into view. My immediate impression was that this is the kind of work a museum would collect.
On the wall right next to it, two more enormous works were lined up side by side.
On the next wall, three more works were arranged.
Each work fits its wall as if precisely measured to it.
The impression is of works crafted with careful, deliberate planning, arriving fully prepared for the moment.
These abstract paintings are a series being publicly presented on a large scale for the first time with this exhibition. On such a major stage, and to come charging in with works of this kind — one can only take one’s hat off to his sheer nerve and strength. Together with the overwhelming power of the works, one senses that behind the boldness there was careful, meticulous preparation.
Before the Tatami Room
In the space just before entering the tatami-mat room, the familiar F4-sized 《end of today》 series and an unusual circular abstract piece are displayed.
I love this series, which he continues to paint as if a life’s work, with “Ichigo-ichie” as its theme.
Though they are small works painted in relatively short time, each fine touch and trace of paint is filled with Ida’s essence, leading to a viewing experience so emotional it almost drives one mad.
Tatami Room
In the tatami room corner, another abstract series and other works were displayed.
Sculptures
Summary
Ida is a popular artist who has recently posted high hammer prices at auction and whose works at this exhibition were almost entirely sold at the opening.
As if to distance himself from the surrounding hype, the works here throw off his previous style and stand as bold challenges. These impassioned pieces — from the large-scale paintings to the compelling sculptures — carry such impact that beyond this, one might say only a museum could stage a larger solo exhibition in Japan.
Yukimasa Ida turned 30 during the run of the show. I have no doubt he will keep showing us many more works to come. His steps toward the world have grown strong, and increasingly sure.
