Cool Marble in the Moonlight – Superb Extension of Painting Practice by ISHIGURO Akira 月明かりのクール・マーブル - 石黒昭によるペインティング・プラクティスの素晴らしい延長
La peinture marbrée et craquelée. Since ancient times, the painterly practice includes the concept of marbling and craquelure, on purpose and without purpose.
With the fast drying acrylic paint, which became popular in the USA (in comparison to the slow drying oil paint from Europe) and the amalgamation of urethane on FRP, highly respected artist ISHIGURO Akira 石黒昭 creates des Œuvres trompe-l’œil with intriguing charm.
In the detail lies his hidden virtuosity of a fusion of abstract-realism painting practice.
Deliberately composing and coloring the abstractions in order to obfuscate the identity of the original source material, Ishiguro’s subversive artistic language of simulacra in the decorative art genre culminates in the “marble” tableau and “stone” sculptures.
I may even vaguely argue, that Ishiguro subconsciously executes his works to let some psychosomatic creativity flow into the exhibition space, as he (the Asian with “Ink Wash Painting” roots) feels himself “trapped” in between “Modern U.S. Acrylic Painting” practice, Duchamps’ Urinal and “Classic European Oil Painting” practice and Italian Maestro Pittore of ancient marble church columns.
Hiking through Carrara, through the Yellow Park, the Swiss Alps or Japan’s National Park Akiyoshidai 秋吉台, we humans are overwhelmed by the uneven karst topography created by the dissolution of limestone by water.
Ishiguro has long been dedicated to opening a channel from the expression of marble surfaces to this kind of universe on a geological scale. His fascination with the delicate marble patterns, which are reminiscent of rock veins created by the metamorphosis of limestone, or the shadows cast by the moonlight, inspire him to develop ever more sophisticated, elevating painting strategies.
The new installation work “By the Light of the Silvery Moon”, together with a magnificent photographic print, in the Art Front Gallery allows the visitor to feel a quasi-mystical experience. Through the shadows cast on the limestone, she/he becomes naturally aware of her/his own existence, while the philosophical threads of thought focus on the vastness of Akiyoshidai and its geological landscape.
The audience learns, as a side effect of this exhibition, that Akiyoshido is one of the largest limestone caves in Japan, which opens at the southern foot of the Akiyoshidai National Park (100 square kilometre area of karst topography) 100 meters underground.
In such an evolutionary process in artistic practice, Ishiguro created amazing “Karst” pieces that visitors love to touch. I had the ‘opportunity’ to see a high society lady from Daikanyama touch and ‘caress’ Ishiguro’s “Karst”-artwork twice.
石黒昭 ISHIGURO Akira is present. Actually his exhibition is on everyone’s lips. We are always surprised by his new, outstandingly executed works. A visual delight for every visitor and at the same time an existential-philosophical excursion. The exhibition runs until the 16th. Highly recommended!
Tokyo, 2025/2/5
Mario A 亜 真里男
Akira Ishiguro’s Solo Exhibition: By the Light of the Silvery Moon
石黒 昭：個展「銀色の月明かりの下で」
ART FRONT GALLERY
2025年1月31日（金）– 2月16日（日）
https://www.artfrontgallery.com/exhibition/archive/2025_01/5074
Artist’s website
https://www.akiraishiguro.com
