Lois Dalphinis

Drawing Room – A Work In Progress

The ‘readiness‘ of the post-modern climate allows for artists such as Tomoko Takahasi to emerge; to address and expand on the process of creativity and its application, encouraging an alternate form of understanding and perspective.  Takahasi’s work fosters a potential to change perspectives governing established modes of representation.

The population, with all its social, political and artistic connotations, devices and ephemera, appear to be the fertilization for artists from the modern art tradition. Echoes of this can be seen in other works by the artist, particularly with her reworking of the popular word processing program by Microsoft. ‘WordPerhect‘, which gracefully allows us to address how personality is produced and a chance for us to address our relationship to it as a ‘thing’ in itself.

Contemporary societies dedicated-habit seems to be fostering the business of artificial beauty via their products.  This architecture of artificial beauty, the introduction to utter decadence coexistent in parallel to the symbolic transformation of disaster assimilated in the citizen and the environment.  Represented by Martin Parrs “Common Sense“, the detritus of modern living is the full frontal greeting that Tate Modern Curators wittingly position as we leave the spaces housing the past of Cubism, Futurism and Votricism.
Tomoko TakahashiThe ingrained notions of movement, and speed, presented via the art and indeed our journey through the exhibition, present a multi-faceted point of view. The realization and reflection of excess of modern consumption, is denoted in Parrs use of saturated colour, as is the contrasting blues and orange of “the knife grinder” by Malevich.  You are at odds to decide as to the pleasure or pain of this visual carnival.

Takahasi directly addresses the viewer via her immediacy and absence.  The overriding sensation of action in situ connotes a work in progress. Someone was at work here, and whilst her absence is felt, we also are aware of her presence in the overwhelming amount of work which surrounds us.

– Lois Dalphinis, 2006

( ©  2010,  Dalphinis Publications)

 

NOTE: Read more about the Drawing Room Installation via the Tate Modern Site. You can also  find out more about Martin Parr via the same site.

Art Terms: “Ready Made” applied from 1915 to a commonplace prefabricated object isolated from its functional context and elevated to the status of art by the mere act of an artist’s selection. (MoMa Collection)

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