Dérive de l’esprit
For its next exhibition, the Guido Romero Pierini – Lei Dinety Gallery presents two American immigrant artists, Alex Kanevsky (1963, Russia) and Kenichi Hoshine (1977, Japan) for the first time in France.
On the one hand, the impressionistic strokes of Alex Kanevsky whose naked subjects, emerging from dark water, touch our emotions… On the other, the paintings of Kenichi Hoshine, where contours disappear so as to free the subject from both its context and the notion of time, leave the viewer in his own fantasy about the hidden part. This exhibition offers a pictorial « pas de deux » on the themes of intimacy and secrecy.
At first, there is a ripple. Like a visual echo, the impossible sum of that which has been seen. Then, the impression of a happy glitch, a drifting between the eye and the mind.
Alex Kanevsky’s paintings claim nature and intimacy as their source.
His subjects are most often alone. If there is the hint of an observer, it is another allowed being, accustomed perhaps, whose presence does not change how his subjects let themselves be seen. Intimacy does not come from so much the nudity as it does from the absence of poses for his subjects.
His still lifes themselves are objects of domestic intimacy : a door halfopened, a watercloset, an unmade bed, a lone sink, ordinary hidden sections, in the aesthetic of an America past.
His landscapes also resemble walks where we would want to be alone, or with another, but with one who is quiet.
However, Alex Kanevsky does not narrate; he lets us see: a “Don’t expect me to tell you something, but you can be here.” The conversation he sparks does not address the observer. Looking at his paintings is similar to being an entomologist, an ignored observer of that which lives beneath the eye and above it, and who cannot quite grasp all the secret dimensions.
His subjects let themselves be seen with this distracted air that only exists in a domestic relationship. Subjects not caring if they are seen, even when they offer themselves, and seeming to say : “Your observation doesn’t concern me”. Their absence of posture offers a mixture of hardness and abandon, a laisserfaire attitude, in a beautiful Russian way. Neither exhibitionism, nor modesty. Social realism in misery. Intimate realism. Alex Kanevsky doesn’t speak another language except that which is layered. His conversation must be gathered, by those who can.
The works of Kenichi Hoshine are surprisingly independent. Each is its own singular little world that seems to belong only to itself.
Worlds in which there is always a missing part.
In a tangible manner of speaking, it is a scraped part, turned to abstraction or a veiled dimension, clouded by a wax overlay.
The missing part of the subjects, hidden beneath sheets and snow, behind another, their own hands, or simply turned. All of them dodge the image slightly, seeming to not want to be completely taken, but finally manifesting themselves.
The work of Kenichi Hoshine gives the feeling of having an original link to photography. Beyond the poetry that emanates from the representations, constructed using very diverse techniques, that which is the most moving are the missing, hidden parts, behind which we imagine something fragile. The obscure images or the subject fragments are more attractive, more intriguing than the complete image would be, about which you could not wonder anymore.
The painting of Kenichi Hoshine honors that which is concealed, restraint. A little in the way flawed photos later prove to be the most beautiful.
Practical Information :
May 31st – June 19th, 2016, from 1pm until 7.00 pm
Galerie Guido Romero Pierini-Lei Dinety
15 rue Beautreillis, Paris 4