Abstract
Dissemination of a new body of work comprising 8 artefacts representing expanded drawing and painting methodologies in an unconventional exhibition site, a former urushi manufactory. The site-sensitive artworks utilise diverse media that explore relationships between drawing, painting, sculpture, vernacular Hong Kong neon signage, traditional Japanese natural laquer (urushi) techniques, and Chiyogami patterned paper.
List of Works:
'early bright', 2023, crayon and watercolour on paper, artists frame, 193 x 140mm
'so many colours', 2024, oil on linen, 125 x 165mm
'colour of dusk', 2023, pigment, jesmonite, walnut, 295 x 220 x 24 mm
'after l', 2024, inkjet print on archival paper, acrylic panel, walnut, 224 x 180 mm
'strip', 2024, risograph transfer on acrylic, neon tubes, neon supports, transformer, electrical cables, dimensions variable
'the naming of things', 2024, oil on panel, 125 x 180mm
'soft touch', 2023, enamel on bronze, 210 x 140 x 150 mm
'chiyogami', 2024, neon tubes, neon supports, transformer, electrical cables, acrylic base, 565x390x80 mm
Exhibition Statement:
暮色dusk is Tom O'Dea's first solo exhibition in Japan, presenting a new body of work that includes neon drawings, paintings, objects and site sensitive interventions. In 暮色dusk, O'Dea picks up from a 2020 exhibition rest things (1a space, Hong Kong), the title of which references the Japanese poetic tradition of ‘pillow words’ (makurakotoba 枕詞) - the use of seemingly tangential words to allude to classical poetry by means of sound, association or meaning. The words themselves lose literal meaning, but form a nuanced set of associations within a vast tradition. The works in this exhibition operate on a similar level in alluding to encountered vernacular forms and situations. With respect to the historic exhibition venue, O'Dea has experimented with naturally refined urushi lacquer in site sensitive works that engage with the historical use of Tajima Urushi Factory as a natural lacquer refining factory.
List of Works:
'early bright', 2023, crayon and watercolour on paper, artists frame, 193 x 140mm
'so many colours', 2024, oil on linen, 125 x 165mm
'colour of dusk', 2023, pigment, jesmonite, walnut, 295 x 220 x 24 mm
'after l', 2024, inkjet print on archival paper, acrylic panel, walnut, 224 x 180 mm
'strip', 2024, risograph transfer on acrylic, neon tubes, neon supports, transformer, electrical cables, dimensions variable
'the naming of things', 2024, oil on panel, 125 x 180mm
'soft touch', 2023, enamel on bronze, 210 x 140 x 150 mm
'chiyogami', 2024, neon tubes, neon supports, transformer, electrical cables, acrylic base, 565x390x80 mm
Exhibition Statement:
暮色dusk is Tom O'Dea's first solo exhibition in Japan, presenting a new body of work that includes neon drawings, paintings, objects and site sensitive interventions. In 暮色dusk, O'Dea picks up from a 2020 exhibition rest things (1a space, Hong Kong), the title of which references the Japanese poetic tradition of ‘pillow words’ (makurakotoba 枕詞) - the use of seemingly tangential words to allude to classical poetry by means of sound, association or meaning. The words themselves lose literal meaning, but form a nuanced set of associations within a vast tradition. The works in this exhibition operate on a similar level in alluding to encountered vernacular forms and situations. With respect to the historic exhibition venue, O'Dea has experimented with naturally refined urushi lacquer in site sensitive works that engage with the historical use of Tajima Urushi Factory as a natural lacquer refining factory.
| Original language | English |
|---|---|
| Publisher | Tajima Urushi Factory |
| Media of output | Other |
| Publication status | Published - 27 Mar 2024 |
Scopus Subject Areas
- Visual Arts and Performing Arts
User-Defined Keywords
- 暮色dusk