久保田真帆画廊荣幸推出新展《伊甸园之东》，这是将于2018年11月21日开幕的Keisuke Tada个展。该展览展出了艺术家正在同时进行的两个系列的新作品 ——“不完整余物的绘画”（Painting of Incomplete Remains）和“痕迹/木头”（ trace/wood）。

在2016年开始的“不完整余物的绘画”系列中，Tada创作了具有象征性母题的静物画，如水果，鲜花和基督雕像，以及虚拟世界的风景，然后故意让表面老化以产生破裂或某些地方剥落。这些作品看起来很像古典欧洲绘画，仿佛是数百年前绘制的，随着时间的推移而自然老化。作品中描绘的母题象征，即现实存在且没有特殊意义的日常物品，在艺术家笔下都化为简单的视觉符号。艺术家娴熟的古典绘画技巧，以及他对时间概念的错觉化表现， 体现了这一系列作品的迷人魅力。

Tada于2015年开始创作“痕迹/木头”系列，至今仍在不断探索。 这个系列中的作品似乎是不同材料的组合，玻璃和金属碎片随机排列在看起来像是木板拼接起来的支撑表面上，空白处涂上各种颜色似乎将碎片联系起来。 然而，这些作品实际上是用绘画材料创作出来的，例如丙烯塑造软膏和丙烯颜料，保留其作为作品的载体。

Keisuke Tada的每件作品都表达了一个观点——你应该质疑你所看见的。另外，他的新作也让人耳目一新，更加娴熟地“干预”观者的视觉信息、感知和概念化心理机制。

MAHO KUBOTA GALLERY is proud to present East of Eden, a solo exhibition of works by Keisuke Tada opening on November 21, 2018. The show exhibits new works from two series the artist is working on simultaneously—Painting of Incomplete Remains and trace/wood.

In the Painting of Incomplete Remains series started in 2016, Tada produces still life paintings with symbolic motifs, such as fruit, flowers, and statues of Christ, as well as landscapes of virtual worlds, and then ages the surfaces so that they are cracked and flaking in places. Possessing the look of classical European paintings, these works feel as if they were painted hundreds of years ago, ageing gradually over time. The motifs that are depicted—objects that exist today and have no particular meaning—are treated as simple, visual icons. The fabricated sense of time in conjunction with classical painting techniques brings out the captivating appeal of this series of works.

The artist began his trace/wood series in 2015, and it is still evolving today. The works in this series appear to be assemblages of different materials, with glass and metal fragments arranged randomly on what at first glance looks like a support surface constructed from planks of wood joined together. Paint of a variety of colors in the intervening spaces seems to link the fragments. However, these works are in fact created using only the materials that go into making a painting, such as modeling paste and acrylic paint, preserving their pedigree as pure paintings.

Each of these works by Keisuke Tada conveys the clear message that you should doubt the identity of what you see. In addition, these new pieces hold fresh surprises, with more refined devices employed by the artist to meddle with the viewer’s visual information, perception, and mechanics of conceptualization.