Taipei Dangdai - MAKI GALLERY · Taipei Dangdai January 18 - 20, 2019 Booth A04 Anne Kagioka...

Sakurado Fine Arts www.sakuradofinearts.com

Taipei DangdaiJanuary 18 - 20, 2019

Booth A04

Anne Kagioka RigouletSusumu KamijoMichael KaganKoichiro Takagi

Takahiro YamamotoTakashi Suzuki


Anne Kagioka RigouletJapanese/French, born 1987

Having trained in oil painting and mural décor in Japan and France, Kagioka incorporates in her practice a unique painting style that explores and transcends the boundaries between two-dimensional and three-dimensional, abstraction and representation, visible and invisible. ‘Reflection ’ takes cropped photographic images of water reflections, and transforms them into complex abstract imagery by applying multiple layers of fabric, sand, and paint, which are then scraped off the surface to reveal the layer beneath. Kagioka’s work is thus the outcome of repeated construction and erosion, distortion and compression, which create an intricate sculptural space within the surface of the painting. The images are freed from their narrative context, geographic reference, the passage of time, and instead emerge as crystallizations of the rhythm, color and form of water. Kagioka’s paintings drift between landscape and lyrical abstraction, inviting us to immerse ourselves in the infinite undulation of the pictorial space.

Born in 1987 in Kanagawa, Japan,Kagioka completed a BFA in Oil Painting in 2011, followed by an MFA in Mural Painting in 2013, at the Tokyo National University of FineArts. Kagioka went on enroll in Fresco and Mosaic at the École Nationale Supérieure desArts Appliqués et des Métiers d’ Art in Paris, and continued her studies in Fresco at the École Nationale Supérieure des Beaux-Arts. Her solo exhibitions include ‘Reflection: 2015-16’, Sakurado Fine Arts (Tokyo, 2016), ‘Anne Kagioka Rigoulet’, Sakurado Fine Arts (Paris, 2014/Tokyo, 2015). She has also participated in various group exhibitions and mural projects in Japan and Europe.


Anne Kagioka Rigoulet Reflection h-22, 2018

Oil and mixed media on panel112.0 x 162.0 cm


Anne Kagioka Rigoulet Reflection h-22, 2018 (detail)

Oil and mixed media on panel112.0 x 162.0 cm


Susumu KamijoJapanese, born 1975

Kamijo, whose interest lies in depicting familiar subjects such as animals and human faces through distortion and abstraction, was walking his girlfriend’s poodle one day when he was drawn to its complex formal quality. Kamijo then began searching for pictures of poodles on the internet and in dog magazines and created a series of colorful drawings based on these images. Consistently executed in portrait format, each dog poses against a landscape composed with a horizon and a sun-like circle. By employing such a simple composition as a frame, Kamijo takes a rather abstract approach to his subjects and reduces them to a field of colors and shapes in a myriad of variations. The use of oil crayon and pastel, when pressed against paper, creates an uneven, dry and matte texture, evoking a painterly touch in the image. Fused with humor and oddness, Kamijo’s work presents a concise interplay of color and form while imaginatively balancing figuration and abstraction.

Born in 1975 in Nagano, Japan, and currently living and working in Brooklyn, NY, Kamijomoved to the US at the age of sixteen. He completed a BFA Painting and Drawing at the University of Oregon in 2000, followed by an MFA Painting and Drawing at the University of Washington in 2002. His recent solo exhibitions include ‘I Will Walk You Tomorrow’, Harper’s Books (NY, 2018); ‘Poodles’, Tortoise (LA, 2018); ‘Poodles’, Sotheby’s S2 (NY, 2017); and ‘I Think So’, Marvin Gardens (NY, 2016). He has also participated in various group shows in Italy, the UK and Belgium.


Susumu KamijoAfternoon Outing, 2018

Oil crayon and pastel pencil on paper127.0 x 96.8 cm


Susumu KamijoAfternoon Outing, 2018 (detail)

Oil crayon and pastel pencil on paper127.0 x 96.8 cm


Michael KaganAmerican, born 1980

Michael Kagan’s artistic praxis centers on an exploration of the tension between abstraction and representation through the medium of oil-on-canvas. His paintings of astronaut helmets, space-suits and moon landings reveal a distinctive and instantly recognizable approach to mark-making that is wholly his own. A variety of tools including flat brushes, squeegees and spatulas are used to fill the canvas with a mosaic of angular, energetic impastos. Placing importance on preserving the freshness of the paint, Kagan never scrapes off or doubles back over what he has painted, leaving to dry just as it is, any paint which has dripped over the edge of the canvas. In the finished works, rhythmical, abstract brushstrokes in both bright and muted hues coalesce at a distance to form iconic, high-contrast images, which can thus be read on multiple levels, both visually and thematically. Space exploration and astronauts, in particular, are also subjects with which Kagan has been familiar since childhood – motifs integral to his artistic output from his first body of work to the present, that vibrantly express his continuing interest in the theme of man overcoming the limits of possibility.

Born in 1980 in Virginia, USA, Michael Kagan completed his BA at The George Washington University in 2003, followed by an MFA and postgraduate fellowship at the New York Academy of Art in 2005. Currently based in Brooklyn, New York, Kagan’s solo exhibitions include ‘We Have Felt The Ground Shake’, Bill Brady Gallery (Miami, 2018); ‘Mavericks’, The Journal Gallery (New York, 2018); ‘Summit Push’, Half Gallery (New York, 2017); ‘Lights Out’, Joshua Liner Gallery (New York, 2016); and ‘I Am My Father’s Son’, Space SBH (St. Barthélemy, 2012). He has also participated in various group exhibitions in the US and Europe. His first museum show will be held in September 2019 at the Virginia Museum of Contemporary Art.


Michael Kagan Some Things Change They Just Get Better, 2018

Oil on linen152.0 x 203.0 cm


Michael Kagan Some Things Change They Just Get Better, 2018 (detail)

Oil on linen152.0 x 203.0 cm


Takahiro YamamotoJapanese, born 1984

Takahiro Yamamoto adopts a hyperrealistic style in his paintings to question the relationship between an original and its reproduction, revealing the vulnerability and ambiguity of the notion of authenticity and originality in contemporary society. Often using monochrome archival images and found objects, such as photographs and postcards, as motifs, Yamamoto depicts the aging condition of the vintage ephemera in minute detail duplicating the fading, creasing, and tearing that are unique to each item. While the extreme dexterity and meticulousness of his work make it difficult to distinguish the original from its copy, his paintings also portrays the course of time in palpable ways and reveal the ability of the reproduction to achieve its own uniqueness through the passage of time. Yamamoto’s work embraces a postmodern approach by collapsing the distinction between real and hypothetical, shifting the boundary between often contradictory layers of meaning.

Born in 1984 in Tottori, Yamamoto graduated from high school in Japan, and moved to Spain and Singapore before settling in New York, where he now lives and works. His works were presented in various solo shows including “Aging Painting”, Gallery Kogure/ Hpgrp Gallery (New York, 2017); “The genuine truth behind truths”, Gallery Kogure (New York, 2016); and “Where the artificial stops and the real starts”, Gallery Kogure (Tokyo, 2013), along with a number of group shows in Asia and beyond.


Takahiro Yamamoto Reallegation, from the series 'Re:View', 2018

Oil and pencil on board 30.5 x 30.5 cm


Takahiro Yamamoto Reallegation, from the series 'Re:View', 2018 (detail)

Oil and pencil on board 30.5 x 30.5 cm


Koichiro TakagiJapanese, born 1974

In works that feature animals and anthropomorphic creatures as icons, Koichiro Takagi creates an eerie and peculiar utopian world that plays with conflicting concepts, such as affinity and discomfort, anonymity and mysticism. Raised by a Catholic family in Japan while not himself identifying as Catholic, a sense of misplacement lies at the heart of Takagi’s work. Influenced by punk music, street art, religion and comics, Takagi’s anarchic characters reflect the doubt and hope of anti-establishment culture in a humorous and quirky manner. Having originally trained in screen-printing, Takagi has expanded on his creative output by using a wide range of techniques and materials such as painting, embroidery, collage and stencil. Deftly combining these techniques within a single artwork, Takagi alternates between art and craft, high and low art, real and imaged.

Born in Tokyo in 1974, Koichiro Takagi graduated from university in Japan and subsequently moved to the US to learn screen-printing at San Francisco’s Academy of Art College (now the Academy of Art University). He relocated to New York to begin his career as a painter and returned to Tokyo in 2005, where he now lives and works. Takagi’s works were recently presented in various solo shows, including ‘This is the secret everyone knows’, Gallery Target (Tokyo, 2018); ‘Gloom’, Gallery Target (Tokyo, 2015) and DMO Arts (Osaka, 2015); ‘EYE OF TOMORROW’, Clear Edition (Tokyo, 2014), along with a number of group shows worldwide, notably in the US, France and Singapore.


Koichiro Takagi I Heal Your Thirst, 2015

Acrylic and embroidery on canvas63.1 x 53.0 cm


Koichiro Takagi I Heal Your Thirst, 2015 (detail)

Acrylic and embroidery on canvas63.1 x 53.0 cm


Takashi SuzukiJapanese, born 1971

Takashi Suzuki’s work explores how we perceive the world, by presenting photographic images in which mundane objects and scenes are deliberately assembled into semi-abstract compositions. Taken out of their original context and often arranged in a typological format, Suzuki’s photographs are no longer about what the subject actually is, but rather make way for new interpretive possibilities. While Suzuki’s approach is distinctively photographic, it often plays with ideas of space, perception and the color plane, making subtle references to elements of geometric abstraction and color field painting. The series, ‘BAU’, is composed of five hundred assemblages of sponges in various shapes and colors, shot in profile against a black background. The countless variations in sculptural form free these seemingly mundane objects from their everyday use, setting them in new contexts and encouraging the viewer to see them from different perspectives.

Born in 1971 in Kyoto, Suzuki received his BFA from The Art Institute of Boston, MA in 1996 and continued his studies as a guest student under Thomas Ruff at the Kunstakademie Düsseldorf, Germany from 2001 to 2002. He now lives and works in Kyoto. His recent exhibitions include ‘Form-Philia’, IMA Gallery (Tokyo, 2015); ‘Presage’, HI-NEST BLDG (Kyoto, 2012); and ‘Quiet Moments’, The Third Gallery Aya (Osaka, 2012). He has also participated in various group exhibitions in Japan and abroad, such as ‘Order & Reorder’, The National Museum of Modern Art (Kyoto, 2016),; and ‘Photography Will Be’, Aichi Prefectural Museum of Art (Nagoya, 2014). Suzuki’s work is included in the permanent collection of The National Museum of Modern Art, Tokyo and Kyoto, and the Kiyosato Museum of Photographic Arts, Yamanashi.


Takashi SuzukiBAU series, 2010-2014

From left to right: BAU#4910; BAU#1020; BAU#3000Type C print on panel

11.0 x 8.5 x 2.5 cm (each)


Takashi Suzuki BAU#4910, 2014

Type C print on panel11.0 x 8.5 x 2.5 cm


Takashi Suzuki BAU#1020, 2010



Takashi SuzukiBAU#3000, 2012


Taipei Dangdai - MAKI GALLERY · Taipei Dangdai January 18 - 20, 2019 Booth A04 Anne Kagioka...

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