Miyuki Yokomizo

Biography

Miyuki Yokomizo has worked as a sculptor and has been particular about time, space and light, excelling at installations. However, at this time, what she tackles is a two-dimensional work. Although two-dimensional artwork is generally thought to be a painting of sorts, Yokomizo declares that hers is a sculpture. Even though it is a two-dimensional work, it is one of matter; a painting created by this method of making sculptures will be a sculpture. In the case of Yokomizo, it is rather an act of accumulation; of stacking up rather than of painting. It is the point where countless horizontal and vertical lines intersect. A work with colored lines overlapping each other, forming a mesh surface that contains time and creates new space. On its surface, there is a feeling of trembling air. At first glance, the surface seems ascetic, but when you see it from a short distance, rises of splashing paints reveal themselves and the surface becomes expressive. The impression of the work changes, depending on the long or short span of distance between the viewer and the work. Putting oil paint on a single thread and hand-flicking that thread fixes the paint on a support, such as a canvas or paper. The thread shows the horizontal and vertical, the warp and weft, and the painting is knitted almost such as in the process of hand-woven fabric. On the surface, marked with traces of time and action, there are surprising numbers of accumulated lines. The act of just flicking the thread is reminiscent of the act of a nun. When that act and her own physicality overlap each other and respond, time of nothingness spreads and wraps her. It is neither fixing the image, nor drawing. It is neither using the brush, nor touching the screen. The traces of the action, called ”dialogue with nothingness”, are formed by accumulating an enormous amount of time, which eventually becomes the artwork. Indeed: it is her breath. In her artwork, there is a strength which prevents others from intervening into her own world. Firmly rooted in the earth, decidedly at her standing position and being ready not to be shaken. On the other hand, it can be said that her own deep psychological world, which was unconsciously created, sprouts out. It is the sculptural painting world of Miyuki Yokomizo, confined by its materiality and time in the space of painting, which develops illusion.