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March 5–May 1
Silent Flowers and Ostriches
Kotaro Fukui
Silent Flower (Ten) 29 x 24.2 inches, Japanese paper, gold foil, Mineral pigment, Indian Ink, 2008
High-resolution image gallery
Curator and Artist Talk: Saturday, March 6, 4:00pm
"Ostriches in Motion"- performance by Kotaro Fukui
Performances: Saturday, March 6, 4:30pm
The Chelsea Art Museum, Home of the Miotte Foundation, is pleased to present Kotaro FUKUI: Silent Flowers and Ostriches. An extraordinary 24 ft. long “Silent Flower” painting was transported from Tokyo to blanket the walls of the Chelsea Art Museum. Kotaro Fukui is a Japanese artist who created this masterwork by applying gold foil to washi, a handmade Japanese paper, employing brush ink to create stems and leaves, and then superimposing blue lapis lazuli pigment on the result. The precious blue stone powder is simultaneously subtle in application but powerful in affect.
Traditionally in East Asia, the iris has been a talisman against evil. An iris painted on a soldier’s armor was said to protect him from enemies. Irises have also symbolized longevity because they stand straight reaching towards the sky and the blue of the petals recalls the blue of sky and sea – in addition to the photographs of Earth from space. Fukui’s fascination with irises reflects his concerns with nature and the role of humans in nature.
Kotaro Fukui’s work mainly focuses on ostriches, irises, and recently peonies. His work addresses themes of nature, body, and Eastern spirituality. He paints ostriches on Washi paper, canvas, kimonos, obis, ostrich eggs, and even on the human body and motor vehicles. He also makes murals; he has painted the inside of a curved tunnel a long line of ostriches walking, running, and gazing intently at the viewer. His improvisational performances are inextricable linked to the concepts of Zen philosophy. When he stands on the paper holding the ink, and randomly drops the first gobs of ink. The form to come and where the lines will go are unknown. He often says before the action” I am nervous, because, I don’t know what the painting will eventually look like.” During the action, we can only hear the heavy inhalation and exhalation of his breath along with the rhythm of the music; then we will find the artist himself transformed into an ostrich - he darts about like a bird and his movement draws the lines that form the painting. It takes not more than half hour, and the audience invariably enjoys the stunning performance art. There will be performances on March 6 at 4pm.
His ostrich series, entitled “Flightless,” investigates movement through line. The rotund shape and rich black coloring of the ostrich's body in juxtaposition with the linear shape of the bird’s extended neck and legs sets the stage for the magnetism of opposites. Individual ostrich faces reveal their own unique characters; many seemingly try to speak to us. Some are cute as cartoons, while others seem completely human.
Fukui’s work is notably steeped in the tradition of Nihonga and the modern Japanese avant-garde. His paper of choice – washi – is not only handmade but also tougher than paper made of wood pulp and breathes in a way that wood pulp paper does not. Fukui also follows traditional Japanese painting in using natural mineral pigments and India ink. Thus his modern vision and talent unfold via a range of materials, lyrical expressions, and historical influences of traditional Japanese art.
Curator Luchia Meihua Lee researched the artist for several years and greatly admires the eclectic nature of his work. From 2004, she has organized five exhibitions of Fukui’s art in the US. This March marks their sixth collaboration. Ms. Lee has curated numerous exhibition and events internationally.
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