studioe

Ko Kirk Yamahira 
Bio/CV | Website#kokirkyamahira

EXHIBITIONS
Emily Counts & Ko Kirk Yamahira: July 17 — Aug 29, 2020, studio e
Fiber 2020, Baimbridge Island Museum of Art: March 6 — Sept 27, 2020
Bellvue Art Museum:  Link to Ben Haywood speaking about Ko Kirk’s installation 
At a glance, Yamahira’s hanging objects may be interpreted as classical abstracted painterly forms. Alternately, they may be viewed as a gesture whereby these forms have been removed from the painted surface, granting them the status of three-dimensional, individual objects. But Yamahira’s pieces situate themselves outside the dichotomy of painting/object (sculpture). Yamahira argues that every thing contains within itself a number of different forms and shapes, but our visual perception is limited to those generated by the object’s spatial placement and our viewing angle.

By unweaving the threads, Yamahira spatially expands the two-dimensional canvas, while the relocated wooden frames allow for numerous installation possibilities, each show/wall therefore offering a new set of forms that the same “object” produces. Shadows and the white wall become a part of each piece, extending and blending it with the outside world, destroying the distinctions between the individual and the collective, and the partial and wholesome. Identification of the object as such then becomes even more complex as it communicates with the other objects on the walls, becoming a part of a multiple, endlessly variable and viewable community.

Yamahira’s art pieces are often black and white, with the resulting grey as the part of the draping, half toned down from the unweaving process. In this context, grey acts as an ambivalent color, reinforcing the notion of the object’s ambiguity of form. The CYMK color selection that Yamahira chooses for this show then adds yet another multidimensional aspect of mutating color and shape (perspective angle). While the totality of viewing angles from which to perceive an object can never be achieved, Yamahira’s deconstructed and re-constructed pieces point to a place beyond partial visual identification, where the object may exist in its multidimensional totality; a meditative, wordless, endlessly creative and tranquil space, the glimpses of which Yamahira offers to the viewer.
-Elena Deem