Gagosian Hong Kong is pleased to present recent work by Jonas Wood and Shio Kusaka. This will be the first exhibition of the artists’ work in Hong Kong.
Wood and Kusaka draw from each other's work as painter and potter to probe the tensions between representation and expression; precision and chance; influences from art history and life. Kusaka’s porcelain vessels play muse to Wood’s drawn and painted interiors, while conversely their idiosyncratic forms and glazes owe something to his impulsive line. They draw from personal memory and their shared existence as a married couple, his half-objective, half-fictional Los Angeles landscapes and still lifes set in their studio on Blackwelder Street; and her painted patterns that allude to their young daughter’s fascination with dinosaurs.
Wood’s paintings and works on paper display overlapping textures and disorienting compressions of space; the intimate settings invoke the work of forebears such as Matisse and Hockney, yet his distorted verdant rooms possess an affectless cut-out appearance that is all his own. In drawings, collages, watercolors, and paintings, outlines of pots and vases frame landscape and interior imagery. Drawn and painted vessels set against neutral backgrounds contain a sprawling green golf course; a coral reef with exotic fish; a lush garden; a painter’s studio, all scenes that end abruptly at the parameters of the object. Progressions can be traced between exploratory works on paper and final paintings: in Fish Pot and Geranium (2008), Wood incorporates a photograph of swimming koi as the pattern of one vessel; a second is crudely drawn in pencil. He transposes the objects onto canvas in Blue Pot Still Life (2014), in which the highly decorated pots clash with a patterned tablecloth, stacked rolls of masking tape, and multicolored desert plants, a persistent living motif.
Kusaka’s recent vessels take traditions of Japanese stoneware and porcelain as a foundation for historical fusions inspired by Iron Age ceramics, Minimalist repetitions, and the silt pottery of Ancient Egypt. These quotations merge with the subtle dimples, pinches, and other surface impressions of her haptic approach, as well as eccentric touches such as long handles in the shape of brontosauri, or blue streaks suggestive of rainfall. Several works are glazed with imprecise grids—Kusaka softens hard geometries by allowing her lines to waver and overlap—while on tall glazed vessels colors ebb from dark green to white. Wood and Kusaka share influences and imagery but embark on autonomous explorations of their respective media; exhibited together, these symbiotic works reveal the autobiographical roots and layers of cross-pollination that inspire their creation.
A fully illustrated catalogue produced with Karma, New York and including a new text by Chris Wiley is forthcoming.
Kusaka近期創作的陶器承襲日本石器及瓷器的傳統，破天荒地融合鐵器時代的陶瓷工藝、簡約主義的重複手法及古埃及的泥陶器具風格，並結合細緻的凹凸紋理及其他表面效果，配以猶如雷龍的長柄或雨水般的藍色花紋，透現無窮新意。Kusaka以釉彩在部分作品添上不規模的格紋，縱橫交錯的線條為幾何圖案注入柔美感覺，而高身上釉陶器的顏色則從深綠色漸變至白色，清新悅目。Jonas Wood及Shio Kusaka從相同的風潮及意象尋找靈感，卻各自以其擅長的媒介進行藝術探索。是次展覽將同時展出兩位藝術家的作品，帶領觀賞者窺探他們的創作靈感來源及彼此之間的創意交流。
Jonas Wood1977生於波士頓，於洛杉磯定居及從事藝術創作。以往舉行的個展包括洛杉磯漢默美術館(Hammer Museum)(2010年)；紐約Lever House的「Jonas Wood: Clippings」(2013–14)；High Line Art的「Jonas Wood: Shelf Still Life」 (2014)；以及LAXART Facade (2014)。
Shio Kusaka1972生於日本，於洛杉磯定居及從事藝術創作。她的作品曾於紐約惠特尼美國藝術博物館「2014年惠特尼雙年展」(2014) 及世界各地展出。
Gagosian Quarterly Spring 2019
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
Jonas Wood: Prints
On the occasion of Jonas Wood’s first survey of prints, the artist spoke about the development of his printmaking practice and its influence on his paintings with legendary Los Angeles–based printmaker Jacob Samuel.
Jonas Wood: Mural
In Los Angeles, the Museum of Contemporary Art’s 5,400-square-foot facade now hosts a vibrant mural by one of the city’s own artists. Meredith Mendelsohn reports on the impact the mural has on revitalizing the museum’s exterior and downtown.