text no. 1012 (flash) 2014
15 ⨯ 22 ⨯ 2 cm
- About the artwork‘text no. 1012 (flash)
acrylic on canvas
15,8 x 22,8 x 2 cm each
- About the artist
Takashi Suzuki ever started with creating installations composed of forged iron parts mostly in the geometric forms such such as rectangular cuboid, tube or bar. Thereafter, he passed through a period which he worked on wood blocks and canvases / paper in parallel.
Currently, he specializes in the latter style of works, the pictorial expression.This course of change can be said a transition of interests, from an interest in spatial composition of materials to an interest in visual experiences mainly in colors.
The red color-field is, foremost, basic to his paintings. Since 2007 the blue color-field has also been introduced and later beige / brown color-fields.
this last color is inspired by the color impresions Takashi Suzuki got of the fronts at the Amsterdam canals.
His brush strokes on canvases and papers are meticulous, and, at a glance, the painterly elements such as brush traces are difficult to recognize.
Accordingly, his works might appear to be lifeless, non-emotional geometric abstract paintings, yet any picture he creates conveys precisely the painter’s breathing, and does not differ, as to expression of manual skill, from other exquisite paintings; for he gives prudent considerations to the effects brought about by combining elements, such as the weave (coarse or fine) of canvas with pigments, or the color / texture of paper with pigments.
The color tones - a range of red colors, from pale pink to deep red, a range of blue colors, from pale sky blue to blue - do not have any literary connotation, symbolic nature nor superior-subordinate roles.They are all neutral and abstract.Thoroughly painted in layers, a color-field itself is, and color-fields harmonizing or interfering each other are, a very expressive, serene and tranquil yet emotional, and furthermore clean yet sensual.As to Takashi Suzuki’s paintings, some are single pictures each consists of single color-field, and some are single pictures each consists ot two color-fields by using two colors to separate a canvas (or a paper) partially unpainted.
Some are composed of several canvases hung together leaving no space or some space in between.
There are also paintings whose composition involves the wall surface on which canvases are hung wide apart.
Such various attempts to put the color-fields side-by-side are all equivalent; being equivalent means that all of these attempts have functions to convey tension and joy of the artist at work completely, and give viewers welcome and entertain them.
Needless to say, although the attempts are equivalent, pleasures vary, depending on the composition or arrangement.
Takashi Suzuki sometimes attempts combinations of the color-fields in odd numbers (for example, ‘text no. 753 - no. 757’).
Among the compositions of several color-fields, those compositions in odd numbers are for us very natural in terms of japanese sense.
Since, with regard to visual composition, we tend to avoid symmetry, and as to number of elements, we prefer odd numbers such as 3, 5, 7....
Or, it can be said, that the composition which avoids the steadiness by the even-number-arrangement has a kind of suggestiveness just like ‘haiku’, a traditional form of japanes poetry, consisting of 17 moras.
(by Dick Bouwma based on a text of Yoshinobu Shimasaki from a catalogue of exhibition ‘takashi suzuki - red, blue and light‘ 2010 / translated by Asami Fujimoto).