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Photo by Kenji Aoki
The Address on The Address 2024 12x10-1/2 inches (30.48x26.7cm)
Takuya Ikezaki “SEA MAP: Receive and Release” 2024.6. 25 Tue – 7.14 Sun Venue: CADAN YURAKUCHO
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Photo by Kenji Aoki
Installation view.
Takuya Ikezaki “SEA MAP: Receive and Release” 2024.6. 25 Tue – 7.14 Sun Venue: CADAN YURAKUCHO
Ikezaki works with various objects and images found in everyday life, including old posters from antique stores, old recipe books, fast fashion brand items, public objects, houseplants, rice crackers, tongs, etc. Viewing these materials and images as homogenized and interchangeable, he reinterprets and presents them in the form of drawings, photographs, sculptures, and installations. In the process of Ikezaki’s practice, preconceived notions and prejudices about objects and images are sometimes ignored, and the time, space, color, form, and function they contain in their own existence are sometimes reflected as puns or jokes, just like our real communication. For this exhibition, Ikezaki will mix old and new works, curate his own works, and create an exhibition space reconfigured as “Seamap: Receive and Release. In the ancient art of Polynesian navigation, in the absence of maps or compasses, one would guide oneself to distant destinations by observing the stars, wave patterns, the flight of birds, and the movement of wind and clouds. Similarly, Ikezaki is culturally and geographically influenced by the environment in which he finds himself, receiving information about objects and images he encounters as in the ancient art of navigation, and using this information as a guidepost for his work. Some of his works seem to be inspired by the climate of his birthplace or the presence of his ancestors and family. It is like a record of an endless voyage to and from the past and future, exploring personal history and identity. The works on display in this exhibition include “Parallel Patchwork,” a series of quilts that he obtained from a recycle store, inherited the method from his mother, and further modified; “The Address on The Address,” a series of works that he began after moving to New York, in which he draws directly on envelopes, cardboard boxes, and packages of purchased items; and “Sea Map,” a work that is an attempt to explore the cultural and geographical roots of a fragment of a maritime map found in an antique store in Taiwan.
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Photo by Kenji Aoki
Installation view.
Takuya Ikezaki “SEA MAP: Receive and Release” 2024.6. 25 Tue – 7.14 Sun Venue: CADAN YURAKUCHO
Ikezaki works with various objects and images found in everyday life, including old posters from antique stores, old recipe books, fast fashion brand items, public objects, houseplants, rice crackers, tongs, etc. Viewing these materials and images as homogenized and interchangeable, he reinterprets and presents them in the form of drawings, photographs, sculptures, and installations. In the process of Ikezaki’s practice, preconceived notions and prejudices about objects and images are sometimes ignored, and the time, space, color, form, and function they contain in their own existence are sometimes reflected as puns or jokes, just like our real communication. In the process of Ikezaki’s practice, preconceived notions and prejudices about objects and images are sometimes ignored, and the time, space, color, form, and function they contain in their own existence are sometimes reflected as wordplay or jokes, just like our real communication. For this exhibition, Ikezaki will mix old and new works, curate his own works, and create an exhibition space reconfigured as “Seamap: Receive and Release. In the ancient art of Polynesian navigation, in the absence of maps or compasses, one would guide oneself to distant destinations by observing the stars, wave patterns, the flight of birds, and the movement of wind and clouds. Similarly, Ikezaki is culturally and geographically influenced by the environment in which he finds himself, receiving information about objects and images he encounters as in the ancient art of navigation, and using this information as a guidepost for his work. Some of his works seem to be inspired by the climate of his birthplace or the presence of his ancestors and family. It is like a record of an endless voyage to and from the past and future, exploring personal history and identity. The works on display in this exhibition include “Parallel Patchwork,” a series of quilts that he obtained from a recycle store, inherited the method from his mother, and further modified; “The Address on The Address,” a series of works that he began after moving to New York, in which he draws directly on envelopes, cardboard boxes, and packages of purchased items; and “Sea Map,” a work that is an attempt to explore the cultural and geographical roots of a fragment of a maritime map found in an antique store in Taiwan.
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Parallel Patchwork by Family in NYC (Marine Compass) 2019 Found fabric, found the quilt 54x 54cm
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Heaven(Tokyo&New York) 2022 24-5/16 x 29-7/8 inches
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Family Group Chat Inkjet print, Frame 43x43 cm (Framed size) 2022
Photo by Kenji Aoki
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Past and Future (Body&Soul) Found calender, Stone 86x32cm (calender), 14.4x13.1x6 cm (stone) 2022
Photo by Kenji Aoki
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Installation view “Recent Work (Body&Soul)” Satoko Oe Contemporary.
Photo by Kenji Aoki.
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Practice Calligraphy (Body&Soul) 2022 Gold calligraphy ink on Xuan rice paper 54-¼ x 27 inches (138x69 cm)
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Practice Calligraphy (Body&Soul) 2022 Gold calligraphy ink on Xuan rice paper 54-1/4 x 27 inches (138x69 cm)
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Video
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Hello Takuya Recommendation From Amazon US single channel video 17:33
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Domani: The Art of Tomorrow Exhibition 2022-23 National Art Center, Tokyo MINATO-KU | TOKYO | JAPAN NOV 19, 2022 - JAN 29, 2023
Photo: Keita Otsuka + Shunta Inaguchi
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I love you, daddy 2022 ink printed on polyester 304.8×182.9cm
Domani: The Art of Tomorrow Exhibition 2022-23 National Art Center, Tokyo MINATO-KU | TOKYO | JAPAN NOV 19, 2022 - JAN 29, 2023
Photo: Keita Otsuka + Shunta Inaguchi
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