The Path to Dyad by Gregory Ito and Korakrit Arunanondchai
Opening Reception: May 6th, 2010. 7 - 10 PM
On View: May 6, 2010 - May 28, 2010
682 Geary St. San Francisco, CA 94102
between Jones and Leavenworth
Kokoro Studio is pleased to present an exciting exhibit of two uniquely distinct artists whose vibrant and prismatic pieces are intense and hallucinatory in nature. Employing a multitude of mediums, Ito and Arunanondchai will completely transform the installation space to create a truly abstract and enveloping experience. Working in two and three dimensions, Arunanondchai’s vibrant psychedelic compositions both fascinate and disorient. His three-dimensional creations, filled with subtle hints of tribal patterns, are both whimsical and frightening . Ito’s meditative, geometric paintings and his intricate constructions inspire a Zen like calm. His hypnotic use of vibrant gradients of color will assault and soothe the senses. Ito skillfully integrates organic and celestial themes, creating not just visually stunning patterns but filling them with iridescent colors that will expand an your mind and.
Don’t miss Kokoro’s newest installment of artistic genius.
for more information: please contact firstname.lastname@example.org
Gregory Ito’s work functions as descriptions, reactions, and explanations of the moments that shift individual perception and their relationship with the world. In particular focus are moments that relate to ideas of the eternal: the sun gracefully sinking past the horizon, the delicate changes of the moon’s face that occurs day by day. Through interactions with a scene or subject, one is able to investigate and question the emotional and intellectual impact of ephemeral manifestations like these. When presented with ideas of this magnitude, and orienting one’s self with the cosmological constants (earth, sun, and moon), it is difficult to escape the expansion of an individual’s perspective. It is large ideas like these that fuel and expand Ito’s career as a maker of work aiming as a transcendence of an individual to a basic way of looking at the world we live in, and the universe we are part of. To see and revere the miracle of time and the celestial components that allow for life to occur, offering the days and necessities to seek the true reasons we are living for. It is to inspire people to grow together.
I draw my inspiration from circumstances that have shaped me. I grew up in Thailand, surrounded by ornate temples and serene Buddha statues that contrasted sharply with the “Japanese pop culture” adopted by the Thai youth of my generation. During trips abroad, I visited museums and art galleries. In 2002, a novel interpretation of familiar objects at the Saatchi gallery in London inspired me to focus on Art in university. I realized that the powerful Buddhist images and the essence of my favorite Japanese mangas and video games could physically exist together through the language and conventions of Fine Art. A gallery space becomes a ceremonial site, where paintings and installations are artifacts of the visual culture I develop through phenomena and fantasies encountered in my life. I have been compiling a library of abstracted shapes as letters to create my visual sentences. Possessing a psychedelic quality similar to Rorschach inkblots, the shapes contain representational details of subjects such as animals and trees, while others have roots in Japanese Manga. When trying to depict speed, movement and metaphysical forces, Manga artists often employ these graphical shapes to provide an aesthetically pleasing representation of an invisible force at a frozen moment. My paintings and prints mostly focus on these shapes to construct an isolated experiential space. A predominant aspect of my artwork is the social participation of the audience. I started thinking about this relational aspect after working for Thai artist, Rirkrit Tiravanija. An audience completes the piece in the same way that a visitor completes the function of a temple. The result is the piece “I Love You”, which involves the participation of the audience in a cult-like musical event bringing a pair of lovers back to life. The process of printmaking, especially silkscreen, is integral to the way the work is formulated. The unifying process of the paint arriving on the surface through a matrix is a form of programming that allows me to exert the control I need to move effectively. I am fascinated with the quality obtained from silkscreen: the flatness, the transparencies, the removal of the hand and the aspect of breaking down the universe visually into layers. In fact, this process directly resembles the way I interact with the world and to all of its information.