Turbulent currents. Skulls and bones. Natural geometries. Solar and lunar imagery. These are some of the recurring motifs in the work of Yuki Ideguchi, a Japanese painter who creates vibrant and hypnotic compositions. Although only 29, the young artist’s work is currently the subject of a solo exhibition in New York City.
Ideguchi’s classical training in Japanese Painting is clear in his craftsmanship and the decorative nature of his work. But what adds to the dynamic and intrigue are the unconventional splatters of spray paint, the masterful compositions and how they work together with symbolisms of life and death. In fact, Ideguchi points to “the hybrid self-identity I carry as a Japanese” in explaining his aesthetic.
He acknowledges Japan’s diverse history, especially in the form of religion as Shintoism, Buddhism, Taoism and even Christianity converged. But one Buddhist doctrine in particular, that of shogyo-mujou (諸行無常), had a great impact on the artist. The concept “teaches that all things are in flux and nothing is permanent,” explains the artist, and that it resonates so strongly because natural disasters like earthquakes and tsunamis are so tied to Japan’s history.
Ideguchi’s solo exhibition “Wave-Life and Death” is being held, interestingly enough, at the Chinese American Arts Council. Curated by Kyoko Sato, the show in some ways is a testament to the closely-intertwined heritage of Japanese and Chinese art. The show opens on December 17, 2015 and runs through January 15, 2016.