Taro Izumi, La Source des Rides — Galerie G-P & N Vallois — Exhibition — Slash Paris

Past: January 25 → March 16, 2013

Entretien — Taro Izumi Taro Izumi greffe sur le vivant un art dépassant les dualismes de l'ouvert et du fermé, de la fiction et du réel. Foisonnants délires, dont la peinture et la vidéo cernent les « entrailles », macrocosmes qu'elles saisissent dans toute leur fantaisie, et dont elles découvrent la mobilité en même temps qu'une compénétration intime d'énergies. À découvrir, jusqu'au 9 mars, à la galerie Vallois.

“The source of wrinkles in the hair on the back/The thick water (accumulates in a hole in the belly)”

Energy can render seemingly fixed elements unstable. We often see this instability at work in our dreams, but in reality numerous events triggered by man must accumulate. Creative processes make it possible to test out this instability and render the invisible visible, like probing inside the artwork.

Recently the earth shuddered so hard that we found it impossible to remain standing; the electricity poles and buildings were shaken violently, as if they were made of rubber. The whole city seemed made of unreal forms of matter.

These events took place without warning, but an invisible force is in permanent movement beneath the ground. This force grows imperceptibly and suddenly reveals itself through an earthquake.

Disasters like these have nothing to do with magic, nor with any kind of a curse. They can be perfectly natural happenings, like when you tug on a tablecloth and the tea spills, but hundreds of millions of times stronger. This kind of incident is part of everyday life.

But these cataclysms bring the realisation that the earth cannot be kept still; its “guts” are in perpetual movement.

For this exhibition I am trying to immobilise the elements of a world in movement. But even so, how could I create a work in a near-static setting? In my works a state and a process can be observed simultaneously, as if I were able to reveal at once the envelope and the guts of painting and sculpture. Using video is almost like touching the “internal organs” of the world.

Creating installations in a constructed space is a little like laying bare your bones and organs.