Kazumi Nakamura’s oeuvre morphs into eclectic bodies of work throughout his life, yet his practice maintains a critical commitment to emotional abstraction. For his third solo exhibition at Blum & Poe Tokyo, Nakamura strays away from his preference for canvasses and relies on paper to procure paintings of consistent compositional structure. With thick paint and ragged, expressive brushstrokes, Nakamura’s pieces oscillate between three and two dimensionalities. On display, too, are exclusive early examples of his Y-shape — referring to the symbolism of his earlier work — and the Diagonal Grid series made in the 1980s. The artist once described these alluring collections as “social semantics.”
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