Inside the Studio: Michiyoshi Deguchi
In this edition of "Inside the Studio," we delve into the minimalist world of Michiyoshi Deguchi, an artist whose work intricately blends photography and painting to create profound meditative experiences. Deguchi’s art invites viewers to explore the dialectic relationship between past and present, people and environments, through a minimalist lens. Join us as we uncover the philosophies and techniques behind Deguchi’s compelling artistic journey.
Read on to learn more in an exclusive interview with Michiyoshi Deguchi :
1. How did you first become interested in minimalist painting, and what drew you to explore its philosophy?
I remember from 40 years ago, when I was a student at an art university. The painting I am looking at now is probably the final point in the evolution of painting. The illusion and story disappear from the surface of the canvas, leaving only the paint and base material as substances. However, there are differences from everyday substances. Behind this, the knowledge of countless people has flowed over more than a thousand years. In other words, the knowledge of those involved in the production, appreciation, and criticism of paintings is accumulated in a dialectical manner.
2. Can you elaborate on your technique of overlaying photographs on paintings and how it transforms the viewer's experience?
The multiple photographs that cover up the painting are constructed materially, and the information conveyed by the photographs reveals that the painting is also treated materially. What exists there is “Date Painting.” I inherited the ideas of On Kawara, a Japanese artist who was once active in New York. Viewers would have encountered his paintings in museums and galleries, but mine exist in everyday spaces. Is it possible for the viewer to interpret this dialectically? My works are produced in various environments, so there are multiple variations in appearance. The concept is the same as it was 40 years ago. If the "integration of photography and painting" is to evolve in the future, it will probably be within the viewer.
3. What inspired your recent project "Painting and Passersby," and how do you incorporate the relationship between people and the environment into your work?
This inspiration came from my experience at a museum where many paintings were exhibited. Some of the paintings did not catch the viewer's attention, and they passed by without stopping. The paintings seemed to be part of everyday space. In my work, it lacks the composition and expression required for the creation of so-called painters. The act of recording is at the center of my mind. I simply start by photographing people, the environment, and pictures equally.
4. How has your artistic practice evolved over the years, especially in terms of integrating photography and painting?
Over the years, my artistic practice has evolved by integrating photography and painting more deeply. Initially, I focused on painting, but as my understanding and appreciation of photography grew, I began to incorporate it into my work. This integration has allowed me to explore new dimensions and perspectives, creating a more dynamic and layered visual experience for viewers.
5. What do you hope viewers take away from your work, particularly in terms of their meditation and reflection?
For a meditator, there need not be anything in front of him that requires careful observation. What you need is some kind of space. Such a space exists on the flat walls that extend vertically and horizontally in minimalist paintings. However, such elements are not present in my work. It is necessary to carefully observe the information recorded in the photograph. The space for meditation is prepared beyond that observation. The inheritance and evolution of minimalist painting is not about preserving its style, but about presenting a new perspective as a dialectic.
6. Can you share an example of a piece where the past and present connection in your work is especially significant?
At the following two museums, I created artworks that captured both the painting exhibition room and the viewer:
1994: “Painting on the Whole” at Sudo Art Museum, Kanagawa Prefecture
2022: “No.221, 222, 223, 224” at Museum of Modern Art, New York
Additionally, I asked my family, friends, and their children to play the role of drawing pictures:
2004: “No.030704, 060804”
2005: “No.290105, 100305”
By stepping away from the role of drawing, I have clarified the outline of my concept. Four of the works shown above were donated after the Clio held in May 2023. For their whereabouts, please contact BIANCA.
7. How do you view the future of minimalist painting, and what role do you see your work playing in that future?
It seems that people have been drawing pictures by hand for 40,000 years. If this is the case, then paintings must be a part of human beings. I understood that to consider minimalist paintings is to consider people, their pasts, and their futures. I hope that my work will serve as a guide for such thinking in the future.
8. What advice would you give to artists who want to explore minimalist painting and its philosophical aspects?
When we think about the future of minimalist painting, what is important is not to inherit that style, but to consider the accumulation that has been achieved through the knowledge and actions of countless artists and take the concept one step further.
Michiyoshi Deguchi’s exploration of minimalist painting invites viewers to meditate on the intersection of past and present, human experience, and the environment. His work challenges conventional boundaries and offers a fresh perspective on minimalist art. Stay tuned for more stories and exclusive interviews on Art Dealer Street.
You can learn more about Michiyoshi Deguchi and his work via these links: Instgram: @michi_deguchi Facebook: https://www.facebook.com/michiyoshi.deguchi.9
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