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Takako Yamaguchi’s new oil work function self-contained seaside dreamscapes, patterned with polychromatic pure components. Attenuated clouds whirl about with angle, knotting, braiding, and coiling themselves via whimsical feats of elasticity. Water is rendered as an unpredictably capricious entity, both as a clean and restful gradient block or a subject of undulating waves ordered right into a syncopated association. These surrealistic snapshots really feel like Agnes Pelton’s mystical landscapes, infused with the graphic language of designer Tadanori Yokoo’s psychedelia.
Yamaguchi produces intensely crisp particulars so exact that they typically appear laptop generated. The magic lies in her astonishing brushwork and delicate optics. Take Parade, 2021, by which vertical, rectangular strips of rain cascade throughout the canvas. Upon nearer inspection, nevertheless, we see that these seemingly all-white bands include faintly shadowed edges, making them pop simply sufficient in opposition to the portray’s gradated gold-and-cobalt background. Yamaguchi bifurcates this and a number of other different compositions with a solid-colored stripe to point a horizon line, a usually invisible indicator of depth that the artist has concretized in a self-consciously stylized method. The viewer is allowed to drift inside Yamaguchi’s optical suspensions, which deftly play with the flatness of the canvas and the illusory depths of the image. On this means, the best delight of Yamaguchi’s artwork rests in its delicate balances: of two and three dimensions, of the absurd and the on a regular basis, of deep serenity and infinite shock.
— Evan Lincoln
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