Since the 1960s, the exploring Japanese craftsman has been building up his particular language of bulbous, strange and exotic structures. A show at Hauser and Wirth Hong Kong features the craftsman’s wonderful vocation and suffering allure
Takesada Matsutani’s globular, mass like organizations come from an impossible source: blood, which he saw under a magnifying instrument during the 1960s with a companion at clinical school.
The Osaka-conceived, Paris-based craftsman tried to reproduce what he saw, furnished with mechanical paste polyvinyl acetic acid derivation and an overwhelming portion of creative mind.
From the mid 1960s until the 1970s Matsutani was a critical individual from the Gutai Art Association, the main revolutionary, post-war creative group in Japan.
The gathering rejected the customary craftsmanship approaches of the time for performative quickness, intuitive conditions and another rush of trial workmanship. As the gathering’s pronouncement expressed, ‘Gutai workmanship doesn’t change the material yet rejuvenates it.’
Matsutani proceeded to build up his own method of exact material by pouring vinyl sticky paste, swelling it with his own breath and cutting it and watching it collapse on itself as he dried it with a fan. The subsequent structures were particular, unfortunately real and proceeded to shape the premise of his unmistakable visual language.
The craftsman’s six-decade vocation is highlighted in a display at Hauser and Wirth, the craftsman’s first performance show in Hong Kong.
Coordinated with craftsmanship vendor Olivier Renaud-Clément, the show traverses the expansiveness of the craftsman’s training, from takes a shot at paper made during a time of thriftiness in 1970s Paris to late canvases imagined during isolate and an original site-explicit establishment from the craftsman’s file.
A few works take after emptied inflatables, for example, Puffed up-1 and Puffed up-2; others are suggestive of burst egg yolks.
As of late, Matsutani’s training has advanced with more accentuation on the thoughtful and orderly, however he stays on top of the estimations of his past: effortlessness, unadulterated signal and crude material.
The craftsman oversees shock, charm and tastefulness in a solitary structure. In his multifaceted, liquid methodology, he tries to stop time, emerge a suspended second and outfit reasoning’s require a ‘re-visitation of the straightforwardness of regular experience’. In Matsutani’s work, mind, body, matter and soul unite.
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