REWRITE REALITY exhibition artist | Masaharu Imamiya

Shortly after the outbreak of COVID-19, I decided to tackle with “The Divine Comedy Volume 1: Inferno” by Dante, which was from my speculation that the current situation in the world would share the view depicted in the novel.

Drawing Counterpoint Vol.1 (Pithecanthropus Erectus), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), string, and patterned paper on Japanese paper with star-shaped box and Demon’s head made by origami, 60 x 60 cm (approx)

Drawing Counterpoint Vol.2 (Elephant and Polyphony), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), patterned paper and plastic watering pot on Japanese paper, 66 x 57 cm, 2020

I am intrigued by “perceptional gaps” which stem from differences among cultural factors. My art reflects these gaps on drawings, which embodies interweaving of cultural references expressed by a sensitive use of line. Unconsciousness amalgamates with the relationship between order and chaos. Whether it is an international or domestic level, we are surrounded by misunderstandings. However, rather than regarding this estrangement as something negative, I perceive the true sustainability of our world lies within on-going chaotic strata which misconceptions have been accumulated. Furthermore, it is this propulsive force for understanding and communicating that has intertwined the history since the dawn of civilizations around the world. Validity for right or wrong is not important for this propulsive force. What matters most is “leap before you look!” My ideal is “the wider these gaps spread, the stronger my work becomes.” Because I do not want to fill the gaps, which sounds cultural gentrification to eradicate idiosyncrasy. My practice exists to testify this mantra and aims for investigating sustainability and polyphony, which are in the process of declining in the contemporary world we are facing right now.

Instant Karma, Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), shide, eyeball stickers, cocktail- umbrella pierced through boat made by origami on Japanese paper, 76 x 56 cm, 2020

In Praise of Folly, Sumi, acrylic paint, grease pencil, gloss medium, stamp (CANTO by Dante), burned paper with Japanese incense sticks and maiden silver grass on Japanese paper, 60 x 55 cm, 2020

In this portfolio, I tried to extract timeless elements from the novel and amalgamate these with my visual language. Perceptional gaps exist because, for understanding the stanza, there are many gaps between me and Dante; gaps exist in cultural, educational, geographical and historical levels, to name a few. Therefore this drawing visualizes breaking and reconstructing “The Divine Comedy” from the perspective of myself as an artist living in the 21st century right now.

There are pillars behind my eyelids, Sumi, acrylic paint, grease pencil, stamp (CANTO by Dante) and pillars made by origami on Japanese paper, 61.5 x 56 cm, 2020

Who goes with Fergus (Shide Drawing Prototype), Sumi, pigment ink, teared paper, stamp (stanza by Yeats) and shide on Japanese paper, 45 x 31 cm, 2019

I grew up in a basin surrounded by mountains in Japan. In my childhood’s eyes, the mountain ridges were lines, which seemed to be in a state of flux resulted from shines, overlapping clouds, landslides, colours and transitional density of the trees in four seasons. Through these observations, I nurtured my sense that the world consists of ever-changing lines.
I did my MA degree at the Royal College of Art (RCA), London in 2015. During my study at the RCA with a bursary, I was awarded Grand Prize from René Carcan International Prize for Printmaking (Brussels, Belgium) (Please refer https://www.mu-inthecity.com/carcan-distribue-ses-prix ). Upon graduating from the RCA, I was given Gwen May Prize from the Royal Society of Painter-Printmakers in the UK and selected as an associate fellow from 2015 to 2017. And, in 2018, I participated in a residency at the Anderson Ranch Arts Center USA as a printmaking fellow.