KAZU NAKAGAWA | [but] move backwards

August 04 — September 07, 2019

    Trish Clark Gallery is pleased to present Kazu Nakagawa’s second solo exhibition at the gallery. With an exhibition of new works, Kazu Nakagawa reminds us that his practice defies ready labelling, underpinned as it is by his fundamental philosophical positions, with his works emblematic of the Japanese concept of ‘ma’ – the space between, the distance between, the room between or around things.

    Born and trained in Tokyo, Nakagawa became a committed New Zealand island-dweller in 1988. His works present us with a tapestry of materiality (or often, seeming immateriality) that is determined by the conceptual underpinning of each work – he will employ any media as required as well as more evanescent materials, shade and sound, subtly traversing materiality, space, time and language. His is a conceptual and experiential consistency that the present moment delivers all there ever truly is.

    Critics writing about his artworks address ‘absence’; ‘matter and nothingness’; ‘ambiguously elegiac’; ‘materiality becomes an imprecise notion’. Shying away from descriptions of his work as minimalist, Nakagawa says rather ‘I fall into another half [of my brain] which always makes things blur, so boundaries have less meaning. An architecture becomes a piece of paper or a piece of paper becomes an architecture. Several months of carving becomes a ‘blink’ of brush stroke. A moment becomes endless. It is actually a process of simplifying what I see, and in this way it is utterly incommunicable unless putting in an art form’.

    Born in 1957 in Tokyo, Nakagawa’s studies were undertaken in Japan before immigrating to New Zealand in 1986, where he still lives on Waiheke Island. Survey exhibitions of Nakagawa’s work have been held at Te Tuhi and The Dowse Art Museum. His work is represented in the Collections of The Dowse Art Museum, New Zealand Maritime Museum and Christchurch Art Gallery Te Puna O Waiwhetu, and in numerous private collections in Australia, UK, USA, New Zealand and the New Zealand Embassy in Japan. Nakagawa has undertaken collaborative projects in the last 15 years, including with fashion designers, poets, composers and film makers; the most significant being the recently completed Waiheke Library, awarded the Overall Supreme Award + Commercial Architectural Excellence Award in 2015.

    Link to artist page→

    Link to review by John Daly-Peoples→

    • Installation view
    • Installation view
    • Preliminary Study No.1 for the series Kamua Kamuri, 2018/19
      Timber, oil paint, sumi-ink, graphite and mixed media
      1070 h x 800 w x 430 diameter
    • Installation view
    • [but] move backwards #08, 2019 (detail)
      Wood (Lawson Cypress), oil paint and sumi-ink
      300 H x 1170 L x 35 D mm
    • [un]dress, 2009 (detail)
    • [un]dress, 2009
      Cabinet; wood/oak, glass
      3 books; canvas, gesso, laminated wood
      970 H x 900 L x 380 D mm
    • Preliminary Study No.5 for the series Kamua Kamuri, 2018/19 (detail)
    • Preliminary Study No.5 for the series Kamua Kamuri, 2018/19
      Sumi-ink and graphite on canvas, gesso, board and wood
      6 panels, 660 x 360 x 45 mm each
    • A Play ‘and land’ Act 7 Scene 5/River and Still Life, 2012
      canvas, gesso and wood
      200 x 200 x 110 mm (with leaning ladder)
    • Installation view
    • vessel work #08, 2017 (detail)
    • Preliminary Study No.4 for the series Kamua Kamuri, 2018 (detail)
      Sumi-ink on canvas, gesso, board and wood
      1200 x 420 x 150 mm
    • Preliminary Study No.3 for the series Kamua Kamuri, 2018 (detail)
      Sumi-ink on canvas, gesso, board and wood
      1100 x 390 x 150 mm