Exhibition: 16 January ­‐ 27 March 2016, ArtScience Musuem
Awards: 19 January 2016, Sands Theatre, Marina Bay Sands

CATEGORY - PAINTING

ARTIST

Toshiyuki Konishi


WEBSITE

http://www.arataniurano.com


ARTIST INFO

b. 1980, Hiroshima, Japan

Toshiyuki Konishi (b.1980, Hiroshima) paints his family, and other familial subjects. The figures, and their features, are painted in symbolic form and from multiple angles. The broad brush strokes sculpt the light and bodies in vivid and rich. The anonymity provided by this painting method -it could be anytime, anywhere, anyone - yet at the same time the painter's relationship with his subjects, as well as their mutual psychological conflicts, are maintained, complexity intact within the paintings, and that's the unique phenomena of his work.

Konishi's recent illustrious activity, including his solo show Crazy for Painting : aM project 2012 vol.5 (2012, gallery αM, Tokyo), Art Basel Hong Kong 2015 and participation in numerous group shows Takahashi Collection - Mindfulness! (2013, Kirishima Open Air Museum, Kagoshima, Japan / Sapporo Art Museum, Hokkaido, Japan), How to Bricolage (2014, Warakoh Museum, Kochi, Japan), Gendai-Chihou-Tan (2014-2015, Susaki SAT Machikado gallery, Susaki, Kochi, Japan), Nostalgia & Fantasy: Contemporary Art, its Imagination and Origins (2014, The National Museum of Art, Osaka, Japan), and The Way of Painting (2014, Tokyo Opera City Art Gallery, Tokyo, Japan), have served excellent testament to the transformations in his paintings and drawings.

His undulating brush strokes in portraiture are at once bold while yet suggesting a direct channel towards geometric laws. In his previous works, the backgrounds were muted into darkness, but recently they writhe, heaving as the monochromatic figures gradually show the tranquility of being engulfed in these vibrations, in a distillation of constituent painting elements. The paintings reveal the characters captured, the behaviors of intimate family members, actions only shown to people who they reveal themselves in front of - the paintings suggest such very human, primitive and psychologically anonymous acts themselves as a new formative thesis. By all manner of transformation, anonymity has become a necessity, and the screen has become the new painting space.