HOME > Exhibition ''#23 Jun Azumatei / Face to Face''

APS #23 Jun Azumatei
7 - 22 October 2011 | a piece of space APS, Tokyo

By chance I came across some beautiful white bed sheets made of cotton and linen and decorated with embroidery at a second hand shop and began to work with these as the supports of new paintings.As in a hotel where the same bed sheets are used over and over again, I began to imagine all the stories that these sheets could tell. A child and their bedwetting ; couples making love; or someone dying happily in their sleep. Stretching the sheets on canvas, I use water-based varnish and poppy oil. Paintedareas become transparent with an appearance like bedwetting and it is possible to slightly see the wooden frame of the support underneath.
The concept is to layer my own actions upon the traces of those of strangers exploring arange of visible acts as painting.

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Sad but True_y | 100 x 100 (cm) |
Poppy Sheed-Oil, Water-based Varnish, Damask
Photo : Toshiharu Sasaki

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Sad but True_y | 100 x 100 (cm) |
Poppy Sheed-Oil, Water-based Varnish, Damask
Photo : Toshiharu Sasaki

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Float_2011 / Froat_CB_2010
a diameter of 245mm | acrylic,varnish,inkjet on board

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Sad but True_y



Face to Face : Hildegard Spielhofer x Jun Azumatei
17 - 22 October 2011 | PLATFORM STUDIO, Tokyo

The building where the galleries, APS and Platform Studio, are housed was built in 1932. It is the oldest, apartment building that exists in Japan today. One of the exhibition spaces APS is painted in pure white. On the other hand, the walls in Platform Studio expose their rough texture without any paint. My aim was to encompass those walls as part of my artwork. I exhibited two paintings on the left wall of Platform Studio. In creating thepaintings, I first pasted pieces of yellow masking tape, and then applied water-based varnish and gold pigment. The parts protected with the pieces of tape expressed a negative element. That negative element (that is, thepieces of tape) was removed from the paintings and then pasted onto the wall on the opposite side so that they could reveal the mirror image of the paintings. The pieces of tape that were pasted directly on the uneven wall surface shined in gold due to the effect of the lighting. The installation work in its entirety repeatedly reversed the negative and positive elements.

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Thresholds _100
2010 | 80 x 160 (cm) | varnish on canvas

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Thresholds [between Worlds] Platform Studio
2011 | 80 x 160 (cm) | masking-tapes on the wall

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Thresholds _100

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Thresholds [between Worlds] Platform Studio 2011