|Tomoko Tamura 田村 智子|
|Ashida Fuuma 芦田 風馬|
|Above, Hashimoto Tomonari 橋本 知成|
Below, Kazusato Ooishi 大石 かずさと
There was a aura about the works that was repeated in the way the work was made and composed. A feeling of it being just barely there, fleeting, a thought realized for a moment and a feeling of a presence. In works such as the school desks made out of tracing paper, a school desk made out of barely perceptible wire, paper houses in old wash stands, portraits made out of melting ice, your thoughts could hover between wonder at the ease of destruction and wonder that the work had the strength to exist as is.
In other works there was a strong feeling of discomfort at being in the same space with it but also an inability to look away because of its strikingness. A gigantic and monstrous baby doll which you realise might just as easily come to life, when you think about it in the context of films like Tottoro or Spirited Away.
|Kimura Kento 木村 健人|
Whether it is cultural aesthetic or trending there I think there may be a coming strand of contemporary art that goes beyond the coolness of minimalism. Work which is quiet and reflective but also uncanny in a way that you feel in the pit of you stomach. Work which bears an aura I refer to as being ghostly white.
|Sai Jyungyoku 崔 じゅんぎょく|
I am wondering what the trends or developing aesthetic in the various Caribbean islands are like now...