Horiki in Turin with 'The invariability of things'.
Horiki's new exhibition Weber&Weber Gallery mercoledì 2 novembre 2022, ore 18 – 21.
Inaugura la nuova mostra di Horiki dedicata alla serie di pitture dell’Odissea presso la galleria Weber & Weber di Torino, in occasione della quale dell’artista si presentano una decina di grandi tele che si fanno portavoce della ricerca pittorica alla quale si è dedicato: un’indagine assorta nella meditazione sull’essenza ultima della pittura, sul suo statuto ontologico.
His is a painting that gives with all evidence in the sacred, as well as in myth; in that same kind of sacredness felt by some in the painting of Marc Rothko, an artist akin to Horiki.
This particular tension and reflection on some Homeric motifs from the Odyssey give rise to the Japanese artist's works, in which the abstract option aims to recapture the invisible in order to lead painting back to its innermost substance of colour, light and pure form.
The canvases dedicated to Ithaca, the island that represents the mythical end of an exile, offer the observer's gaze and thought an allusion not so much to a space that is in any case entirely mental, but rather to a threshold, which is certainly the threshold of the visible, but which is also a passage, a sort of 'exit from the world' that illustrates the eternal vicissitude that alternates between fullness and emptiness, presence and absence, end and beginning of all things.
Rare and vibrant, each of Horiki's paintings is in itself a journey into the complex world of relationships between the visible and the invisible. The painting is imbued with a grace that certainly owes something to the assiduous dialogue between Eastern and Western culture.
Tra gli stati, tra le tappe che precedono, nell’itinerario artistico di Horiki, l’incontro/confronto con Omero, la più interessante è quella che vede l’artista giapponese, faccia a faccia con Piero della Francesca.
The abstraction of Horiki Katsutomi's painting is not intended to desecrate or mock the figure, but rather to recapture the invisible and lead painting back to its innermost essence of colour, light and pure form.
