“Infinite Repetition” is a show not to be missed this month, the Iinnoo Gallery showcasing the works of two powerful women artists: Ouma (Japan) and Autumn Lyn (China).
Conceived on the idea of the repetition of forms, this project shows in fact how modularity resides in everything that surrounds us, from the intricate network of cells forming each and every organism or object to mapping the modules of life in a repetitive pattern.
The two artistic directions are totally different. Ouma’s approach is eye capturing by her Pop Art endless entrelacs of vividly colored drawings, covering entirely the walls of one room of the gallery. Clearly, from my point of view, pertaining to the Japanese pop culture in terms of the plastic depiction of super flat forms as we see in Murakami and Kusama’s well known works, Ouma builds a network of cells illustrated on thousands of pieces of paper having all the same dimensions. Therefore, modularity here appears both in the illustrated forms and in the type of the material support.
Ouma creates a world of her own, beautifully colored, a puzzle like frieze of endless drawings that envelops the viewers and introduces them into the fantastic imagery of the microcosm.
Autumn Lyn’s approach is a spiritual one, showing that cyclicality, the circle, means closing and repeating a moment, a state of mind, a state of soul, on and on. It is an eternal déjà vu of sufferings coming over and over with a single scope – to find and express LOVE.
Autumn Lyn is a conceptual artist which shifts from three to two dimension artworks with remarkable easiness. The artist utilizes modular systems to create sculptural structures of pure minimalist style in order to convey the idea of human struggle between reality and fantasy, equilibrium and disorder. Extremely interesting is how Autumn Lyn decides to illustrate the “Shape of Lives”: she builds two wooden cabinets, each having 104 square shaped cells housing gold and blue rice bowls. Using the symbolism of numbers in Buddhist faith in many of her artworks, I think here Autumn is getting close to the most important and sacred number, 108, which monks say that it can be reached by multiplying the senses (sight, hearing, touch, taste) and the elements pertaining to the conscious (pain, pleasure, love). These are the metaphorical image of our beings and our lives.
Autumn Lyn is attentively archiving her feelings and sufferings by giving a unique “touch” to every blue bowl (deformities, scratches, cracks), whereas the gold ones are left untouched, glowing peacefully and witnessing the moments of happiness.
When illustrating “Reality vs Fantasy”, Autumn Lyn uses verticals and sinuous lines ascending and descending, rigid and soft, columns made of gold and blue plates. The vertical modularity of these elegant pillars recalls Brancusi’s “Endless column” whose rhythmic and undulating structure suggests an infinite evolution.
An infinite evolution could be Autumn’s reason for using the blue color, symbolizing immortality and advancement, which together with the noble gold, not too shiny, but tender and velvety, completes perfectly the artist’s conceptual works.
The overwhelming presence of the circle in our lives and in us is clearly stated in Autumn Lyn’s modularity, in a “goes around-comes around” repetition of feelings, because that is all about: her soul scattered by sufferings and reenacted by love.