Suga also created geometric compositions out of tape, marker, ink, and torn edges, such as Lateral Realm-174 (1974) and Corner at Phases (1975). In Situation of Boundary (1971) Suga applied diagonal strokes of white chalk to conjoined sheets of black sandpaper, emphasizing a unifying field that traverses the borders of multiple units within a greater whole. During the 1970s, Suga experimented with various forms of mark-making and manipulation on different types of paper. Deeply immersed in the theoretical writings of Jean Baudrillard, Gilles Deleuze, Kitarō Nishida, Keiji Nishitani, and Mahāyāna Buddhism since his university years, Suga developed his own idiosyncratic philosophy of matter and space, which he articulates in terms of a holistic “interdependence” ( izon) of all “things” ( mono) “being left” ( hōchi) in the “situations” ( jōkyō) that unite them.Īs with Suga’s installations and assemblages, his works on paper show the evolution of the artist’s thought over the last five decades. He and a small number of other artists who worked in similarly ephemeral modes became known as Mono-ha (“School of Things”). Only months after creating Untitled (1968), Suga turned away from painting and toward making site-specific installations out of natural and industrial materials such as paraffin, concrete, wood, branches, metal, rope, and wire. These colliding fields of color and fragments of negated language reflect Suga’s incipient interest in the discrepancies between words and meaning, and the need to allow material to speak for itself.
Painted with bright acrylics sourced from Francis’ studio, Untitled (1968) consists of rectangular fields of vivid red and blue, permeated with English words in various states of obfuscation and erasure. Watching Francis create his Edge paintings by moving around large canvases laid on the floor, Suga was inspired to think about the relationship of center and periphery in his own emerging practice. The earliest work in this exhibition, Untitled (1968), was made shortly after Suga graduated from Tama Art University, when he worked for one year as a part-time studio assistant to Sam Francis in Tokyo. Suga’s investigation of paper has been an integral part of his practice since the beginning of his artistic career, occurring in parallel with the large-scale installations and wall-mounted assemblages for which he is best known.
His fifth solo presentation with the gallery, this show is the first comprehensive survey of his work in this medium, which has rarely been exhibited outside Japan. Masks are required for all visitors inside the galleries.īlum & Poe is pleased to present an exhibition of Kishio Suga’s work on paper.
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