December 2, 2022

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“Primavera -Spring Festa-” Solo Show by Takeru Amano at Moosey Gallery in Norwich, England – StreetArtNews

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Japanese artist Takeru Amano comes to our Norwich gallery for his debut solo exhibit at Moosey | Opening: Thursday, 31st March from 6-8pm. Born in 1977, the artist has exhibited all above the earth from Tokyo, Hong Kong, to Paris, London and now Norwich (the cherry on top rated). Takeru lived in New York in the late 90’s right before settling back in Japan, wherever a mix of Western iconography and Japanese neo-pop lifestyle has received him notoriety.

‘Venus’, Acrylic on linen, 130cm x 100cm

Amano’s topics are normally classic Western feminine figures who have a prolonged background of showing in painted kind imagine of Venus and the Virgin Mary. These mythological Greco-Roman icons are then depicted in a 20th Century Japanese style, cleanse and flat, splashed with Tokyo-pop neon colours. He playfully employs the innate flexibility of portray, bending mythology to his individual will and humour.

‘Athena and Pegasus’, Acrylic on linen, 130cm x 130cm

For Primavera -Spring Festa- these icons return again, this time with furred and feathered companions. As the demonstrate title alludes to, these animals counsel spring time and the beginning of hotter temperature swans in lakes, canine walked all over parks, deer and horses galloping by floral fields. The color palette also captures the time, with vibrant greens and yellows, deep blues, and faint pinks reminiscent of Japan’s cherry blossoms, a definitive signifier of the first blushes of spring throughout Tokyo. The compositions are ethereal and shiny, leaving room for the spray of citrus and warming spring breeze.

‘Artemis and Actaeon’, Acrylic on linen, 130cm x 100cm

‘Venus’, Acrylic on linen, 80cm x 80cm

The visual appeal of animals also carries on the artist’s amalgamation of mythology and pop. The Historic Greek tales of Leda and the Swan, Artemis and the Deer Hunter, Pegasus sprouting from the blood of Medusa, have lengthy been tackled by painters. Amano reimagines these myths in his individual graphic Japanese model, flattening them and incorporating basic detail with delicate and fluid line-do the job.

He gets rid of the drama of the first tales, or at minimum the brutality between goddess and animal. In this article in its place, it would seem they’ve partnered up, intimidatingly greeting you as you enter the gallery, unmistakably peering from their partitions with blank but inescapable eyes. The mischievousness of Amano’s paintings is laid simple, the character’s languid expressions searching sardonically bored fed up of becoming painted for hundreds of years on conclude, fed up of getting viewed, and staring back, unamused, giantly rendered and significantly even bigger than you are.



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