city,gallery,2320,kawaguchi,tamaki

■ kawaguchi tamaki

■■ DATA C.V.

2001- 2004 ◼ Chelsea College of Art and Design, London, UK
1990-1994 ◼ Kyoto University of Education Japan

■ Artist in Residence

2019.04 ◼ Listhus, Olafsfjordur, North Iceland

2018.10 ◼ PILOTENKUECHE, Leipzig, Germany

2018.04 ◼ Heima Art residency, Seyðisfjörður,

◼ Selected PERFORMANCE (Painting Day By Day In The World.):

2019 ◼ Painting Butterflies / Listhus (Olafsfjordur, North Iceland)

2018 ◼ Painting Wasps / Helmut (Leipzig, Germany)

　◼ Painting Iceland matter / Heima Art residency (Seyðisfjörður, Iceland）

2017 ◼ Painting CAS insects / CAS (Osaka, Japan)

　◼ Painting Folkestone insects / The Metropole Gallery (Folkestone, UK)

2016 ◼ Painting Water Striders / Kawasaki City Museum (Kanagawa, Japan)

■ Selected Solo Show:

2019 ◼ Street Gallery (Kobe)

2018 ◼ Helmut (Leipzig, Germany)

2017 ◼ CAS / Contemporary Art and Spirits (Osaka)

2013 ◼ Art Space NIJI (Kyoto)

2011 ◼ Fuji Gallery (Osaka)

■ Selected Group Exhibitions:

2019 ◼ Hakujitsumu, 2kw gallery(Otsu, Shiga)

2017 ◼ LEAVING LANGUAGE, The Metropole Gallery (Folkestone, UK)

　◼ Bertram Schiller ＋ Kanako Okuno + Tamaki Kawaguchi (Jiyuko-bo, Osaka)

2016 ◼ ART GARDEN, Hankyu Nishinomiya Gardens (Hyogo)

2012 ◼ Gallerism in Tenmabashi City Mall (Osaka)

2011 ◼ Rokko Meets Art 2011 (Kobe, Hyogo)

Statement

I was trying to break away from the “performance painting” which had been my main artist expression since 2002. Over the years I started to become more curious about the interaction with the audience rather than the painting process itself. I chose to participate in some artists in residence to further explore ideas around communication and this exhibition is a reflection of my growth and development.

This exhibition reveals new works from my trips to Iceland, Eastern Europe and Scotland.

Iceland

While I was in Iceland, I felt the most honest connection was with Mother Earth. Iceland is a land beyond the tree line, it is covered with moss, and the mountains are always snowcapped. It is a place where you feel like reaching out to the stars, to the heavens, to outer space. It light, both in the day and the night, is dazzlingly mysterious.

Whilst in this wilderness, I was strangely beset with feelings and memories unconnected to the place I was in. I was struck by this anomaly, in the wilds of Iceland I remembered things I had forgotten and felt things which I had numbed myself to, I felt liberated from the concrete blocks of my city life which had locked these thoughts feelings memories away.

I wondered, how does nature transform me so. How was it possible for me to regain the forgotten memories and confined feelings? Nature is like an alchemist transforming ore to the gold?

Eastern Europe

In contrast to the light and space of Iceland, the forests of Eastern Europe felt dark and claustrophobic. However, there was something about the cryptocrystalline light through the overhang that magical, mystical and evocative. I wanted to feel this in a tangible and real way, so I was massaging the trees, trying to find their pulse, feel their connection to the earth and to the people.

After the animating experience in the isolated land of Iceland and in the dark and silent forests of Eastern Europe, I found brilliant and pure light in the dialogue with young people in the ruins of Leipzig, Germany.

These interviews with local young people in Leipzig initially seem quite different from the "performance painting" or my experiences in Iceland and Eastern Europe. However, the young people’s energy and innocence, their hope and optimism, was also liberating, and thus I started to see the connections between all of my experiences.

This exhibition explores how my surroundings evoked these previously neglected experiences (thoughts, feelings, and memories) under the keywords of communications as journeys through residence experiences. I want this work to resonate with the viewer, that they also feel transformed – that they have thoughts feeing’s memories that were buried and can be freed.