Galerie Kashya Hildebrand

TIME + SPACE Nobuhiro Nakanishi

TIME + SPACE Nobuhiro Nakanishi

Wednesday, June 9, 2010Tuesday, August 10, 2010

Zurich, Switzerland

Opening reception in the presence of the artist:
Wednesday, 9 June 2010, 6 – 8pm

After having been introduced to Switzerland in the two recent group shows Senjiru (2008) and Floating Strokes (2009), featuring young Japanese artists from the Kansai region, Galerie Kashya Hildebrand is pleased to present new works of Nobuhiro Nakanishi in his first solo show in Zurich.

Reflections on time and space play a central role in Nakanishi’s oeuvre. Both his two- and three-dimensional works find their inspiration in an intense artistic discourse on the perception of everyday phenomena. His main interest lies in gaps and blanks – be they of a physical or chronological nature – and their effect on the viewer. In particular, the fleeting aspects of nature and life are analysed from different angles and viewpoints and given artistic forms.

In Nakanishi’s series Stripe Drawings, spaces and gaps are created as a seemingly infinite number of hand-drawn pencil lines consolidate into an image. Void and image alternate depending on the viewer’s changing point of view and perception. These lines and spaces create shapes that seem to encroach upon each other, yet co-exist harmoniously extending into infinity. The white paper is like an empty space, slowly filled with shapes – similar to wisps of vapour continuously densifying and dissolving in a wide open space. Even though there is no tangible substance, the viewers nevertheless experience a sensation of being engulfed in the infinite depths of our surroundings. Drawing on his memories, the artist’s aim is to depict landscapes where contours, spatial distances, and physical boundaries dissolve, like the infinitesimal world we see through the microscope, an imaginary galaxy in a faraway universe or a landscape steeped in fog.

The Layer Drawings depict the often overlooked and unnoticed changes in our everyday lives such as a sunrise, melting ice cream or the classical memento mori motif of the flickering light of a burning candle. Nakanishi’s sculptures capture these changes in chronologically sequenced photographs and allow the viewer to experience the ephemerality of time. The viewer instinctively fills the chronological and spatial gaps with his or her own memories and physical experiences, thereby sharing the fleeting experience of time and space with the artist. Nakanishi uses the word ‘drawings’ to describe these pieces even though they are composed of a series of photographs, yet the sketching and shaping of an idea on a piece of paper is closest to the process of giving shape to the purely conceptual ideas that lie at the core of his Layer Drawings.