Since the beginnings in the 80s her stylistic style is marked by glass plates with an evanescent presence
Can we tell the light that is transformed into an impalpable substance through refractions multiplied by the glass that welcomes it and modifies its path to lead it in the heart and spirit of the observer? Can be if to do so is an artist of poetry, extraordinary sensitivity as ōki Izumi able to translate a visual shock or an ecstatic thought in an artwork that overrides any fragility linked to the material chosen for her creative commitment.
SHE HAS BEEN ABLE TO FEED A COMPOSITIONAL BECOMING BEYOND SPACE AND TIME
In 1991 Gillo Dorfles wrote in this regard: “It is perhaps the contrast between the rigidity and the rigor of the glass plates and their evanescent presence that has attracted ōki’s creative will: on the one hand, soliciting her anxiety of precision, numerical order, of an almost obsessive search for harmonic and numerical proportions (...); on the other hand highlighting the idea of emptiness - this constant of Zen thought - of the interval, of the open-closed that, with the vitreous material, could easily be expressed...”.
A concept that applies to all the artworks conceived from the ‘80s until today by an artist who has been able to feed a compositional becoming out of every space and time and therefore always generous of renewable contemplative amazement. Let’s try to interrogate some of her artwork to question ourselves that we suffer the charm:
ARTWORKS THAT SEEM TO LEAD TOWARDS A MIRAGE THAT SHE TRANSFORMS INTO EMOTIONS AND THOUGHTS
If Glassy shell dated 2007 captures for a winding that incorporates and distributes wavy flows, Celestial construction, 2011, directly attempts the streets of the sky with a rhythmic flight of ascension of desires and hopes; Transparent memory, 2003, seems to suggest the anticipation of a heavenly musical score that rhythmically conquers space and determines it. And so to this day and forever because, dare I say, that ōki Izumi sows something that goes beyond her and our time and what was consumed before us and what will come: her gesture, we want to repeat it, can not be held back and sealed, seems to aspire to infinity.
GLASSY SHELL INCORPORATES AND DISTRIBUTES WAVY FLOWS
On the occasion of a recent exhibition, Leonardo Lattuada observed, with regard to the universality of the Japanese artist: “she seems abstract, minimalist, oriental, but she is perfectly understandable in every latitude that has some Euclidean notion”. It is an attitude that seems to escape touch even when her narrative intent dwells on the illusory static nature of a container or a book placed on a shelf as it would seem to happen in Vase of water, 2016, and Homage to Kandinsky, 2002, has the air of leading us towards a mirage, the mirage of her that turns things into thoughts.
SHE TRANSLATES A VISUAL SHOCK IN AN ARTWORK THAT OVERRIDES ANY FRAGILITY LINKED TO GLASS
So what? Let us definitively entrust ourselves to Process dated 2007, which winds its way towards that infinite which, by its interpretative quality and by right, intimately belongs to it.
Artist represented by Lattuada Gallery - Milan.
