PRIVATE VIEW: THURSDAY, 7 APRIL
Simon Lee Gallery is proud to announce a solo exhibition of new and historical work by Japanese conceptual artist
Keiji Uematsu, his first ever in the United Kingdom.
Uematsu’s highly cohesive body of work spanning over 45 years makes invisible relations
hips between objects and
the spaces they inhabit visible. The ideas of ‘de
familiarising’ space and focusing our attention on the natural forces
of gravity, tension, and material attraction, whether through photography, drawing or sculptural installation,
underlie his entire practice.
Uematsu graduated from the departmen
t of Fine Arts, Kobe University
in 1969, at the very time when the new
group of artists whose work later came to be associated with the name
were rising to prominence. They
proposed a radical conceptual practice which moved away from traditional forms of representation toward an
engagement with materials, objects and their properties and it was in this creative context that Uematsu developed
is artistic language. In 1975 he moved from his native Japan to Dusseldorf. The following year he was the first
ever to show at Moderna Museet, Stockholm, and he quickly developed concurrent exhibiting
activities in Europe and Japan. His mo
ve came not only in the context of a rapidly developing conceptual art
movement in Japan, but also of intense exchange between artists in Europe, North American and Asia.
The artistic context in Dusseldorf proved fertile ground for Uematsu to develop his
conceptual photographic practice
and it was from within this context and in relation to peers such as Bern
and Hilla Becher (Bernd was alread
teaching at the Kunstakademie)
that he was encourage
to submit a proposal for the 1977 edition of Documenta.
ocumenta 6 project drawing
shows two timber beams held in tension across the width of a room, their alignment
offset, the means of their lateral support evident. In this single drawing, the core of Uematsu’s project is apparent. It
is, as he has said,
create a work in which the lack of a single element will cause the entire structure, the invisible
existences of things and their relationships, to collapse like a cosmos.’
investigation of “invisible force” gives this exhibition its title and connec
ts the sculpture, photographs and
drawings exhibited, dated from 1973 to 2016. A series of three photographic diptychs from 1973,
Tree Man I
depict the artist using his own body as a sculptural element and
interest in performance and relations between body and object, object and nature and three dimensional
space and its two dimensional representation. In the left
hand image of
of wood stands
upright in the doorway of what seems to b
e a municipal building
perhaps an art school. Its form echoes the shape
of the opening and reaches from the floor to around 2/5 of the height of the doorframe. In
the artist supports the beam so that its top reaches the lintel of th
e doorway. His body and the sculpture become
dependent. This doubling of the image encourages the viewer to contemplate the artist’s absence, and the
force of gravity to which the beam is subject, of the effort of his muscles which hold it upwards.
forces are now made visible.
follows the same structure. Here too the sequence of the images is
intuitive, the resting elements in the first left
hand image are given dynamism, the composition given
meaning, only by
the presence of the artist’s body and the forces it exerts in the second, and so the eye returns to
the first and sees for the first time the invisible force at play.
A series of seven photographs
performance Uematsu made
l at Beursschouwburg (Brussels)
. The performance consisted of the artist swinging a
light bulb on its cord to describe a circle with his body framed at the centre. Using light to effectively draw in space,
Uematsu creates an ephemeral form that appears solid for one brief moment, with the artist and object ‘becoming’
together. The circle, as a symbol of totality, wholeness, the self, the infinite was elegantly ruptured during the live
performance, but here c
aptured whole, photographically and exhibited for the first time.
These remarkable historical works, alongside new sculptures and large
scale drawings, all reflect Uematsu’s
ongoing enquiry into making visible invisible forces whilst also making apparent
the influence he has had on
younger generations of artists internationally.