FACT AND FICTION: ARTISTS
Hideaki Kawashima
View a photograph of the artist at artnet.com
Background information
Born in 1969 in Aichi Prefecture in Japan. He studied with Yoshimoto Nara,
and after graduating from Tokuyo Zokei University he served for two years
as a Buddhist monk. His early work was based on the novels of Yukio Mishima.
He began to exhibit work in Nagoya in 1997, moved to Tokyo in 2000 and came
to attention in a group show curated by Yoshitomo Nara called Morning Glory
in 2001. Since then he has shown work internationally and had solos shows.
Practice
A solo show in 2005 was titled ‘Mutability’ which means the
capacity for change or the liability to mutate. The artist says his paintings
are about that “vague anxiety for finding out self identity”.
The kind you confront in a reflection in a window of a moving train which
reflects your insubstantiality.
Gelatinous and malformed, Kawashima’s abominations exists as both
the result and progenitors of past, present, and future cruelty.
For more information read Persistence
of a Genetic Scar: Japanese Anime, Manga, and Otaku Culture Fill an Open
National Wound by Julie Rauer at asianart.com
With pristine realism he depicts “protohuman” sacks lacking
ears or nostrils. Kawashima describes these polyps as self portraits but
perhaps the are psychological portraits rather than visceral. However, the
audience is not given enough clues to make a define pronouncement on the
gender of these “cute” yet slightly disturbing mutatable portraits.
In the style of ‘Kawaii’ these ghostly visions engender a paradoxical
response, the protective reflex of cuteness yet the strangely disturbing
threat of unpleasant mutation and things paranormal. Covered like chrysalis
we are not quite certain of the nature of what lies beneath or when if will
emerge. The physical size and smooth, refined style work together to envelope
the viewer in a aura of sickly sweetness.
RESOURCES
Hideaki
Kawashima "mutablilty" at Tokyo Art Beat
Letter from New York: Child’s Ply by Anonda Bell, Art
Monthly Australia, September 2005 No:183, Page 26