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Japan Tide Presents: Chisayo NAKATA & Hima AYUZAWA

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Japan Tide & Leyden Gallery Collaboration

“JAPAN TIDE” is a cultural exchange project between the United Kingdom and Japan. This project offers an access to Japanese cultural experiences through the presentation of Japanese arts, traditional culture, and cuisine during several events this year. The goal of this project is to motivate the public to visit Japan and many of its beautiful places after seeing JAPAN TIDE’ s introductions to traditional
cultures and cuisines of these regions.

Scenes of Carefree Dreams Chisayo NAKATA Solo Exhibition

“Even with a busy daily life, you must not forget the freedom of your soul.” For many years, Chisayo Nakata worked alone, managing a Chinese
restaurant in Ozu, Ehime Prefecture. It wasn’t until the age of 70 that she began focusing on painting. Finding joy painting pictures as a member of
the art club in high school, Nakata never stopped painting, despite her busy schedule operating the restaurant. She talks about the joy of working
on oil paintings long into the night after closing up the restaurant. Nakata’s landscapes are full of imagination and imagery drawn from a world of
fairy tales. Full of passion for the carefree act of creation, the works strike the viewer with a sense of longing, like fading dreams that feel as though
they are being lost to a busy reality. This exhibition includes the Pleiades series (in which flowers floating in space depict souls rising to the heavens)
along with other works that take a surreal approach in depicting the ocean floor. With an innocent sentimentality, the captivating paintings on display
can be both enjoyed by adults and children alike.

 

Spirit of Japan - Creating a Refined World Through Handcrafts - Hima AYUZAWA Solo Exhibition

Hima Ayuzawa has been an oshie (traditional raised cloth) artist for 35 years. Influenced by her mother, who worked as a dressmaking teacher, Ayuzawa learned crafts from a young age. Oshie is a fun, ornamental Japanese craft in which leftover kimono fabric (originally made for aristocratic women) is pasted onto screens and incense boxes. The craft was widely popularized in the Edo period as an enjoyable activity for housewives. Pieces of cardboard are cutout for each underlying part of the picture. Wrapping colored cloth around each part results in bulging curved lines and a three dimensional shape, giving the doll a lively appearance. Capturing the Japanese sense of harmony, the pieces resonate with an elegant atmosphere, with dignified characters from kabuki actors and notable figures from history. In addition to works depicting gorgeous women in kimono and gentle landscapes from the Heian era, which received acclaim in Paris, this exhibition will also showcase new works for the
first time based on adorable animals such as chickens, monkeys and rabbits. We hope you enjoy the incredibly appealing world of oshie.

Chisayo NAKATA October 2nd - 6th 2018

Hima AYUZAWA October 9th - 13th 2018
 

 

SALT | Ellis & Nakamura private view

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SALT
A two-person exhibition featuring Leyden Gallery artists Hilary Ellis & Atsuko Nakamura
An exhibition focused on processes and interventions in mark making.

The PV for SALT coincides with The Whitechapel Gallery First Thursdays on 1st June​

​The ​exhibition continues until 17th June​

Atsuko Nakamura has recently exhibited in a solo show in Japan & through her residency in New York. We welcome her back to Leyden Gallery for the exhibition SALT as she brings her new salt sculpture In Between the Beginning and End, to be shown alongside earlier sculptures and works on paper; all of which were made in the shadow of the aftermath of the 2011 Japanese tsunami. Nakamura’s latest work, which engage cloud, rain and waterfalls in the practice of mark-making are considered by her as a process of collaboration and are exhibited here for the first time.

Since Hilary Ellis's previous solo exhibition at Leyden Gallery, 'Pale Significance' (2015), she has been working intensely at her Kent studio on a vast body of work dealing with repetition and its dynamic relation to structure and chaos, and the encounter in mark-making. For Ellis the process is not determined by any logical stopping point and often does not coincide with the finishing of the work but is determined by a casual choice. These ideas are explored in an on-going practice that has spanned several decades since Ellis started working as an artist.

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