Kazumasa Noguchi: Synthetic Garden

Noguchi studied architecture in Tokyo National Art University, and has shown his capability in variations of outputs. Architecture may be divided to two structures: foundation and invisible inner structure to support itself from gravity and natural condition, and the exterior surface covering surface. What we visually conceive when walking in the space of a building is merely the experience of this exterior shell-like surface. When we discuss Noguchi's art, seeing him in terms of architectural interior and exterior viewpoint, I think that this artist may have a specific interest in how the exterior shell functions as a superficial disguise. For example, he has done a series of work using origami as a theme. If it is an origami made of a piece of paper, our notion of origami is that they would be something placed on a table. Not counting on how the size may differ, it should mean a stereotype origami no matter how large it may be. It may be fine if the size of the origami is kept within the size of our understanding of normal origami. However, if the same shape would be enlarged and made as a sculpture, we suddenly start to see it uncomfortable. Noguchi easily leaps this distance and reaches the other shore to create works of art by making large elephants or giraffes in the same form of origami.
In this exhibition, Noguchi creates superficial three dimensional space applying tapes on our gallery wall. Walls are merely plane surface. We have been seeing flat artworks for several centuries trying to imitate three dimensional space inside, hung on shell-like surface of buildings. I am interested how Noguchi would be changing our shell surface galley with his imitational three dimensional works. He would even be displaying his flat panel works on his superficial surface. In this exhibition, we may be seeing flat paintings located in imitated three dimensional space. I think this kind of leap from our common understanding, from our common shore to the other, not only once but twice or three, is the most peculiar identity of this artist. As the result of this leap, probably we are to see flat canvas located on fictitious space which already lost its basis, and probably, the work on this fictitious wall would never be conceived as artwork if it would not have its autonomy. Axis of Noguchi's works may be different from what we usually conceive as Art. But I believe Noguchi's works are keeping a good balance by having their own axis.

Toshio Kondo, Art Front Gallery