The exhibition "Fukami" is an invitation to a two-part voyage into parts unknown: the delight of first encountering the artistic expression of a distant land, and the awe-inspiring discovery of new strata beneath an otherwise familiar earth. Through a duality of echoes, the exhibition prologue follows the theme of “Japonismes 2018: les âmes en résonance” or "souls in resonance."
It all begins with Miyata Ryohei's gong, whose sound welcomes visitors upon their arrival.
A brilliantly colored painting covers the floor of the first exhibition room. In Asia, floors were painted with patterns of mandalas and carpets. In Japan, where the walls were unpainted, mobile elements such as fusuma and screens constituted the space instead. Appearing and disappearing at will, the latter possessed a distinct temporality.
For his work "Echoes Infinity," Omaki Shinji uses the mineral pigments of a traditional Japanese painting technique with stencils placed onto a base of white felt that covers the floor. He creates delicate work by means of subtly colored mineral particles. Though his materials are palpably fragile, the colored sand sprinkled over felt provides a crisp and powerful visual effect, full of vitality. It transforms the space and seems to make the light oscillate. Rather than simply observing this light, visitors feel it in their bodies. The flower and plant patterns come from the artist's early childhood memories. They recall the symbols covering the kimonos in his family's clothing store. With urban development, the area surrounding his native village has disappeared and the memory of this lost place has become a floral motif, which he painstakingly adds to his work, dispersing them through his work to countries around Asia and Europe. In this exhibition, the echoes found in "Echoes Infinity" are the accumulation of temporal and memorial fragments from the artist's life, entering into a mutual resonance.
In this series of installations, where visitors are invited to tread upon the felted floor, the image quickly becomes abstract and eventually disappears, leaving in its wake an ocean of colors. The performance imagined for the final day of the exhibition is a complete disappearance of the work itself.