11/03/2023
Photo is impossible to take for âCharisâ (Šď¸MakotoFujimura 2008) 89x132â, mineral pigments and gold on Kumohada paper. This is what I first wrote for NYC exhibit in 2008:
Notes on Charis exhibit:
My latest golden painting, Charis, is language of gold as dispersed, gestured movement, an homage to de Kooning. Critic Clement Greenberg did not approve of De Kooningâs paintings as pure abstraction since de Kooning did not deny the âessential flatness of a painted space.â I am interested in the de Kooning that failed to fulfill Greenbergian definition of abstraction. My interest in abstraction is in the essentiation of reality, which, I believe, de Kooning was interested in as well. In that search, I became interested in creating space that is flat and spatial at the same time, Gold is that paradox: it creates space (by being semi-transparent) and remain flat (by being mirror-like) at the same time. Perhaps the only way that an âessential flatnessâ can be full of created space is by using gold.
Gold, in all civilizations, symbolized divinity. The act of layering gold, to me, is to pray for the divine New Reality (multi-dimensionality) to break into our broken (flat) reality. Charis, the Greek word that St. Paul used for âgrace,â is an invented short hand taken from the word âcharisma,â which means gift. Art is a gift, and essentially, art is grace. And âgrace arenaâ is created in the layered gold and minerals. The more I journey deeply into the effects of gold and mineral pigments, more I am taken by the refractive possibilities of the materials, and at the same time unable to contain, and control, the glory built into them. Glory spills out, like the golden aura we stand under, a tabernacle of hope.
Makoto Fujimura