If we have any difficulties discussing Keizaburo Okamura (born in 1958), the only reason should be the overwhelming quantity of his artworks.
     For example, the whole figure of his work could be seen only in the photograph in the catalogue which lines all his works up side by side. At the actual exhibition at The Museum of Modern Art, Kamakura, the folding-screen artwork directly placed on the floor was tall enough to nearly reach the ceiling, and every curve was folded to some degree or another. It was almost impossible to get an overview and one could not savor the details by viewing the work close up. Art appreciation in the ordinary sense that one would expect at museums and art galleries was scarcely possible; above all, I could not stay calm. This experience is possible only for those who visit the exhibition. We entered the museum without knowing how the artworks were displayed inside. The heaviness, as if the world was leaning on us from the moment we opened the door, was completely beyond our normal imaginable scope.
     One of the reasons for this was the placement of large artworks in a small space. In the first exhibition room, the largest was 3.5m long and 14.4m wide,^*1 while the smallest was 2.15m long and 7.2m wide.^*2 They were folded along each crease, so the width of the long and slender room was narrowed. We could not see the entire artwork, and to examine details by carefully looking at them was not an appropriate way to enjoy the work. All we could do was just to walk around, stopping occasionally. That reminded me of my childhood experience of walking in nearby mountains while being frightened by the birds’ cries and the murmur of the wind in the trees. The artworks dominated the space as if they were installations, and viewers were forcibly thrown into their world.

     You might think that the only problem was the size, but that is not true. Needless to say, a blank panel does not make sense, and his painting is represented as an artwork by itself even if how he created. Another reason is the labor intensive nature of each artwork. How much time the artist took to produce one artwork is very hard to guess if you have no experience. He burns both sides of the panel, washes out the carbonized material to paint the mixture of glue and alum, paint glue..., all using his special method are only for making the groundwork, and moreover to draw on it by using a scraper as like shaving. The time spent on an artwork is not always proportional to its value, and it is not basically related to art appreciation, but there is a certain world in art which is arisen only when the amount of the drawing exceeds a certain volume. The motifs of these nineteen artworks included an elephant, a lion, a bird, and a rabbit as well as imaginary creatures such as a dragon, an a Kon (large fish), and a Garuda. Almost all have a scale-like pattern, the repeat of which gives an intensive image. The repetition and proliferation of the pattern might have the same meaning as the dots in Jakuchu Ito and Yayoi Kusama, although the essential idea is different. The eyes are also intensive, though not so much as the scales. Because of the keen look of a single eye cast to us and the scales which has a certain effect when repeatedly drawn, the definite contrast of amount – single or plural, creates an exact balance by support of the black background. I wrote above, "It was not appropriate to savor the details by viewing the work close up," which does not mean the details have no importance; on the contrary, the accumulation of the details attracts me.

     I have not mentioned a particular artwork, but have described the impression of the total exhibition. My conclusion is that, of course each artwork is recognizable from its motif, composition and size, and I can analyze them if I want; however, I did not want to this time. For this exhibition, the more I discuss each artwork, the more my description diverges from the actual impression. My intention would be similar to the Okamura’s process in which a figure of scale are repeatedly drawn and gradually proliferated into a one single image in his artwork. The waving accumulation of each artwork covers the entire venue. I wanted to express the scene, albeit only a glimpse.
(Translated by Chisato Kushida)

*1

“Garuda and Dragon King 08-1”, 2008, mineral pigment/board, 350 x 1440 x 9cm, private collection

*2

“Fish in North Netherworld 08-1”, 2008, mineral pigment/board, 215 x 720 x 9cm, private collection

"Keizaburo OKAMURA"
13/Sep/2008 - 24/Nov/2008
Venue: The Museum of Modern Art, Kamakura