New Beginnings: A New Chapter in Kan-Zan-Loc’s Art

EVENT DESCRIPTION

J 12 contemporary art by jason is pleased to announce New Beginnings: A New Chapter in Kan-Zan-Loc’s Art, a solo exhibition by Japanese painter Kan-Zan-Loc. The solo presentation will highlight works from 2017 and to his latest ‘TEN toh TUTI noh AIDAH – Between Heaven & Soil – All Things are Beautiful’ series as well as ‘Whispering Blue – Mirjanas’.

On view at the J 12 contemporary art by jason’s gallery space at PMQ, Central, Hong Kong, the exhibition explores the evolution of the artist’s works of the past six years as his research and experimentation with natural pigments and minerals used in centuries-old Asian painting which expand his practice from the monochromatic using Ganryo indigo to a wider palette incorporating lapis lazuli, malachite, azurite, marble, mica, gold and silver.

Lines and the color blue have always been an integral part of Kan-Zan-Loc’s artistic practice, one that not only plays homage to but is dedicated to the continuation of the Asian aesthetics. Lines reflect the flow state of mind, a state of Zen like calm, where art and movement fuse, when harmony is found and embraced. To create the lines, KanZan applies a traditional paste like substance onto the surface of his papers, before the pigment is applied. This substance acts like resist, holding back the pigment, leaving the lines white. The substance is then removed, and the painting is complete. The lines reflect the meditative experience of “Kuu” (emptiness or nothingness) in ZEN Buddhism.

Ganryo pigment and shellfish powder are used in Japanese religious architecture. Both are favoured medium by artist Kan-Zan-Loc. A temple in Nikko, Tochigi, Japan where the artist pays homage to his heritage.

Natural pigments used in Asian art form the basis of Kan-Zan-Loc’s painting practice. The artist has devoted decades into the research of various pigments and minerals used in Asian painting as well as their use by different Japanese artists: Hokusai for his use of blue in his woodblock prints, and the Rinpa School, merchant artists in the 17th to 19th centuries who were famous for their folding screens decorated with natural or abstract designs painted in vivid colors, often on gold ground.

To understand Kan-Zan-Loc’s art and his inspiration, one needs to understand the origin of the man. Born and raised in the Japanese countryside, Kan-Zan-Loc’s childhood was one steeped in Japanese tradition and in Zen Buddhist’s philosophies. Kimonos were commonly worn, traditional songs sung. He lived in a family home decorated with real ukiyo-e woodblock prints, and where people came to learn Ikebana or Japanese art of flower arrangement or to master the tea ceremony. This part of Japan was not completely devoid of modern culture, KanZan grew up on a steady diet of manga and Japanese anime, but he also practiced Kendo, a disciplined Japanese martial art practiced with bamboo swords, and meditated daily.

But it was the immortal words of Hokusai “If I had a lifespan of 5 more years, I would have mastered painting”, that he came across at age 9 that inspired his lifelong interest in art, and to set the goal of realizing his ‘ultimate painting’, one that is true to Asian thoughts and aesthetic sense. For KanZan, art is not about social satire nor is it there to entertain. Rather it has a spiritual connotation. Art is a revelation, a prayer even. Lines represent the harmony with the quiet and clear state of mind. Infused with the Zen definition of beauty to embrace change and imperfections, his lines are released from the stiff confines of space as if dancing in the Flow state.

In the 80s while pursuing his path, KanZan embarked an over-a-decade-and-bold-journey in the West. KanZan carried with him his deep-rooted heritage and values to New York, the centre and gravity of pop culture, where he had encounters with Andy Warhol and Keith Haring. These exchanges and dialogues create a footprint in his art. New York’s free spirits open his mind to appreciate the Western aesthetics creating an experience that harmonize his heritage with the western philosophy.

For many years, Kan-Zan-Loc focused on the use of Ganryo, where natural indigo is mixed with ground powdered shellfish to create his own pigments. The use of indigo in Japanese crafts especially in textiles extend as far back as the eight century where a glue like substance made of fermented rice was used to mask areas where the dye was prevented from penetrating. KanZan reinterprets these techniques drawing lines first before carefully applying Ganryo layer upon layer creating a rich saturation of indigo blue before removing the lines revealing the white of the paper underneath.

In his new paintings, KanZan began to expand his palette by experimenting with natural mineral pigments: lapis lazuli, malachite, azurite, marble, mica as well as gold and silver powder and their application on 100% linen canvas and onto handmade wooden panels. While honouring several celebrated Rinpa works by applying gold and silver, the focus is to create a delicate and elegant shine that embodies zen spirituality.

Kan-Zan-Loc remains true to his artistic practice of using centuries-old materials and techniques with strong regional and ethnic characteristics, such as natural mineral pigments and indigo-dyed shellfish powder. An homage and respect to his heritage.