English translation by Maddalena Tassan Recensione collezione lavori dell'artista Giapponese: Maestro Kenji Tanaka
Master Kenji Tanaka
A journey to the borders between reality and fantasy
I am truly honored to have been commissioned to write a review by the Japanese artist Kenji Tanaka. The Master, as it is correct to define him, is a really important Artist and recognized in Japan and in many other countries, for his particular work e peculiar, as he uses truly original techniques and dyes. Master Tanaka works and operates in Japan, but has numerous assets exhibitions of his works also in other countries. On these occasions, it is limiting "Taste" the latter, so end in themselves, because in reality, contextually they narrate traditions and a rich culture of belonging. This happens because Master Tanaka is the only bearer of the knowledge of ancient techniques on the creation of INDIGO dye and all its nuances and therefore deserves all the resonance and attention that he is can give.
We have to overcome that thin and almost invisible barrier that would like to separate such an ancient civilization and culture as the Japanese one, from the host one. The it is done as free from any useless impediment and as men and women Art. Even I, an observer of this beauty, can only remain attentive and pleasantly dumbfounded and enveloped by works free of frames and things that "Close the Art". This looks like me.
Therefore, even the observer cannot help but recognize something familiar in what he sees, this can be a key element on which to rest a sort of certainty, of familiarity. Art is read this way.
The Art's expressions, for to like, for to be understood, they take advantage of this first concept: “Recognize something familiar in the work ". This common language in all human artistic dimensions, has a special means, which is vision beyond all cultural barriers of belonging. There is therefore this sort of freedom of the forms represented, that if also they respond to geometric canons and dynamic forms, in reality, they live because free and because are not inserted in supports that are not necessarily as smooth as the simple one paper, but are instead reported on fabrics of various grain and thickness.
I have not yet had the pleasure of knowing this Great personally Master of Japanese origin, and I hope this will happen soon; but I have had the permission and esteem of those who thought of my review and critic of this collection examined. Provided with numerous images and material concerning this artist exceptional, from the only source Curator and Manager of Master Tanaka in Europe, by the artist Mrs. Maria Bernardetta Cecchin; I could to study for a long time the nourished work of the Master, of his history and above all of the procedures and processes that allow this meditative and great man, to create not only the visible work, but the same tools necessary for his fulfillment and we will talk about this very soon. I read as a book of wonderful adventures, the works of Master Tanaka, a truly incredible man, probably really from "Somewhere else", from world of air, sky, cold colors, mixed with a few warm ones, but that together they simply generate LIGHT. And despite being Light, it's not intrusive and superior to the possibility of welcome; it comes from other dimensions and pervades the eye in spite of itself observer. The latter can be lost in those semblance fabrics and structures rough and dyed with flawless craftsmanship, because it is inevitable to try the desire of to touch them with the fingers, smell their perfume, be part of it. Entering the Master's works, the observer feels taken by the hand, and accompanied in a journey of lights and colors, strong and at the same time gentle, because the adventure of creation doesn't actually just start in observing the work as you see it, but it starts much earlier, that is from the creation of useful materials to its birth.
We have to overcome that thin and almost invisible barrier that would like to separate such an ancient civilization and culture as the Japanese one, from the host one. The it is done as free from any useless impediment and as men and women Art. Even I, an observer of this beauty, can only remain attentive and pleasantly dumbfounded and enveloped by works free of frames and things that "Close the Art". This looks like me.
Therefore, even the observer cannot help but recognize something familiar in what he sees, this can be a key element on which to rest a sort of certainty, of familiarity. Art is read this way.
The Art's expressions, for to like, for to be understood, they take advantage of this first concept: “Recognize something familiar in the work ". This common language in all human artistic dimensions, has a special means, which is vision beyond all cultural barriers of belonging. There is therefore this sort of freedom of the forms represented, that if also they respond to geometric canons and dynamic forms, in reality, they live because free and because are not inserted in supports that are not necessarily as smooth as the simple one paper, but are instead reported on fabrics of various grain and thickness.
I have not yet had the pleasure of knowing this Great personally Master of Japanese origin, and I hope this will happen soon; but I have had the permission and esteem of those who thought of my review and critic of this collection examined. Provided with numerous images and material concerning this artist exceptional, from the only source Curator and Manager of Master Tanaka in Europe, by the artist Mrs. Maria Bernardetta Cecchin; I could to study for a long time the nourished work of the Master, of his history and above all of the procedures and processes that allow this meditative and great man, to create not only the visible work, but the same tools necessary for his fulfillment and we will talk about this very soon. I read as a book of wonderful adventures, the works of Master Tanaka, a truly incredible man, probably really from "Somewhere else", from world of air, sky, cold colors, mixed with a few warm ones, but that together they simply generate LIGHT. And despite being Light, it's not intrusive and superior to the possibility of welcome; it comes from other dimensions and pervades the eye in spite of itself observer. The latter can be lost in those semblance fabrics and structures rough and dyed with flawless craftsmanship, because it is inevitable to try the desire of to touch them with the fingers, smell their perfume, be part of it. Entering the Master's works, the observer feels taken by the hand, and accompanied in a journey of lights and colors, strong and at the same time gentle, because the adventure of creation doesn't actually just start in observing the work as you see it, but it starts much earlier, that is from the creation of useful materials to its birth.
The awareness of the whole process is perceived, which as such already is "Work", even before its complete fulfillment. The subjects are often forms geometric or fluid shapes, sometimes overlapping, sometimes in succession or in fading, peculiar in their tincture. It is interesting to remember that Master Tanaka chose at the time, of to leave the noisy and vital Tokyo, to move to the mountains (at 1000 meters) and therefore in a more peaceful, familiar and certainly more "close" place to his art and suited to the production of his particular works. This appearance is definitely an element that leads to recognition in man/artist, the search for something that reassures him, that leads him to ever closer answers to his simple, but complex meditative experience.
It must be assumed that the culture / knowledge / knowledge of a people, makes use of the passing on of news and knowledge itself; here is the Maestro Tanaka, is the most natural expression of this concept, projected in the knowledge of dye materialization in the most natural way exists. So, far from inorganic chemistry, if we want to taste this artist, we will have to venture like modern Indiana Jones, with an open mind, within this research and experience of ancient techniques on creation of dyes. Tanaka felt the need to take advantage of these millennial knowledge, expressing themes and arguments such as nature, light, silence. They can see, they can understand each other. In his various works which I have been given by observe, you can perceive well and touch, these themes, because his operated is fresh, clean, essential. The techniques for obtaining the INDIGO used by him are abundant described by his various fact-finding brochures, therefore I will not dwell on each one detailed single work stage. However, it is worth addressing the topic in a slightly wider way, to give an idea for those who approach this artist, what they are talking about. In fact, I am aware of other artists who "build" color, but in in this case this definition is really reductive, because we are talking about "Dyeing"
It must be assumed that the culture / knowledge / knowledge of a people, makes use of the passing on of news and knowledge itself; here is the Maestro Tanaka, is the most natural expression of this concept, projected in the knowledge of dye materialization in the most natural way exists. So, far from inorganic chemistry, if we want to taste this artist, we will have to venture like modern Indiana Jones, with an open mind, within this research and experience of ancient techniques on creation of dyes. Tanaka felt the need to take advantage of these millennial knowledge, expressing themes and arguments such as nature, light, silence. They can see, they can understand each other. In his various works which I have been given by observe, you can perceive well and touch, these themes, because his operated is fresh, clean, essential. The techniques for obtaining the INDIGO used by him are abundant described by his various fact-finding brochures, therefore I will not dwell on each one detailed single work stage. However, it is worth addressing the topic in a slightly wider way, to give an idea for those who approach this artist, what they are talking about. In fact, I am aware of other artists who "build" color, but in in this case this definition is really reductive, because we are talking about "Dyeing"
Master Tanaka uses very ancient techniques, linked to resources natural features of its territory. The steps to specifically create his INDIGO and the shades related to it, require long procedures, related to the temporal cadence of the seasons, which allow the maturation of certain plants and their leaves, at their harvest, maceration, fermentation and subsequent treatments. The ancient history tells that this color is the most ancient among the vegetable ones have been created, therefore the value of its existence now, in this era, assumes important and necessary connotations, to create that ring that unites a past rich in complex knowledge and at the same time useful to his continuation. INDIGO and all its shades used by Maestro Tanaka, therefore, is a message of hope, of re-evaluation of a present that tends inexorably to "forget" notions that made this people, certainly peculiar and always capable of enriching its economy with many other forms of human expressions and activities. The art of creating such a particular dye, then used on a large scale, for more types of fabrics, had to be taken in all its complexity and cared for, honored, loved. The Master does this, loves the process, as the bearer of knowledge ancient that he himself does not want to lose, because it is part of his being man of nature, of his history; history cannot be "detached" from the man who it is its representation; the man of color, of matter that fades into various shades, seek with love. He is the man who approaches a kind of mystical, meditative pleasure. There is an image, in the material that I have been provided, where the artist's hands are seen in color. Here, I see there the art of forming, of modeling small atoms and micro particles of origin natural, which blend with your hands. The sound becomes the work it creates. The man is part of the work. I could go further on this philosophical concept, but it is not needed, it is not needed really. I think it's clear, what it means "Process / evolution of matter, mixed with the artist's intelligent and irrational and interpretive idea "! Looking at the finished works, one cannot fail to perceive the finesse of them dyes and that flavor of the author's deep research.
We cannot dwell on the figures for their own sake; look at them and go out. Need read them several times; observe them several times, do not stop at the first viewing. Only so you can see all the background and history of those who tell centuries of traditions. For this reason, the work of Maestro Tanaka cannot be reduced only to creation of geometric elements or dynamic shapes, performed with extraordinary mastery. The images themselves are only the tip of an ice-berg of knowledge millennials, who cannot and must not be forgotten. And because these works are only windows, through which to lay it glance, to see the soul of a true Artist, a clean, strong and creator delicate. One can perceive the silence of his meditation, in the moment of his abandonment in front of his finished canvas; you can observe and imagine it, intent on finding himself in the typical complacency of when he is finished the work. I know that feeling. The next moment there is a desire to check other, to question something again. For the artist it is inevitable.
This continuous research can therefore be perceived; without rules, because genius creative has none. The creative genius experiments, tests, learns, assimilates, makes its own and codifies and sends back his soul mixed with technique. And perhaps the latter imposes rules, but as you love, interpreted with noble soul, do not give the damage the weight of the "rational" typical of the rule. That's because you can't and shouldn't consider him a mere craftsman, in the negative sense of the term (also because there is nothing to take away from the wonderful work of the craftsman, who still produces Art). In the creation of Master Tanaka of this "magical INDIGO" by him used, there is no sterile method, but expectation, passion, heart. There is no deception of time that looms and measures everything, as the civilization that runs, but the concretization of an imaginary fulfillment of a story, the story of a man and his children of LIGHT, with shades INDIGO, which then still experiments in fabrics, like many, many, many centuries does. Ancient and modern at the same time, his work looks at our culture with humility and passion, giving a pleasant, minimalist, pure final effect essential and elegant.
We cannot dwell on the figures for their own sake; look at them and go out. Need read them several times; observe them several times, do not stop at the first viewing. Only so you can see all the background and history of those who tell centuries of traditions. For this reason, the work of Maestro Tanaka cannot be reduced only to creation of geometric elements or dynamic shapes, performed with extraordinary mastery. The images themselves are only the tip of an ice-berg of knowledge millennials, who cannot and must not be forgotten. And because these works are only windows, through which to lay it glance, to see the soul of a true Artist, a clean, strong and creator delicate. One can perceive the silence of his meditation, in the moment of his abandonment in front of his finished canvas; you can observe and imagine it, intent on finding himself in the typical complacency of when he is finished the work. I know that feeling. The next moment there is a desire to check other, to question something again. For the artist it is inevitable.
This continuous research can therefore be perceived; without rules, because genius creative has none. The creative genius experiments, tests, learns, assimilates, makes its own and codifies and sends back his soul mixed with technique. And perhaps the latter imposes rules, but as you love, interpreted with noble soul, do not give the damage the weight of the "rational" typical of the rule. That's because you can't and shouldn't consider him a mere craftsman, in the negative sense of the term (also because there is nothing to take away from the wonderful work of the craftsman, who still produces Art). In the creation of Master Tanaka of this "magical INDIGO" by him used, there is no sterile method, but expectation, passion, heart. There is no deception of time that looms and measures everything, as the civilization that runs, but the concretization of an imaginary fulfillment of a story, the story of a man and his children of LIGHT, with shades INDIGO, which then still experiments in fabrics, like many, many, many centuries does. Ancient and modern at the same time, his work looks at our culture with humility and passion, giving a pleasant, minimalist, pure final effect essential and elegant.
Thanks Master Tanaka!
Maddalena Tassan
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