“I want to depict things that are infinitely wide and endlessly connected” — Yoko Matsumoto
Upon entering the beautifully well-lit space of the White Cube Gallery in Manhattan, its current show, nicely titled Darkness Against Nature, presents a sharp and exciting display of work by renown Japanese artist Yoko Matsumoto — and what a display it is.
Known for creating expansive works of epic color and motion, Yoko Matsumoto was very much attracted by the New York Abstract Expressionist movement, in which artists like Helen Frankenthaler Jackson Pollack and Morris Louis became her prime influences.
Born in Tokyo and majoring in painting at Tokyo University of the Arts, Matsumoto had to deal with certain obstacles of working in oil, which limited her ability to move as freely as possible. Upon visiting New York City in 1967, she was fully exposed to the works of Abstract Expressionism and Color Field, and its artist’s use of acrylic paint and raw, unprimed canvas, which became most influential in the subsequent body of work she began from that period onward.
Somewhat tempestuous, bright and forever moving, the work of Yoko Matsumoto could be likened to that of J.M.W. Turner’s fiery landscapes, yet each piece appears calmer and more spiritual than intense. For example, Darkness Against Nature, 1980 clearly eludes to Turner, especially in the dark upper middle ground of the work, yet a fluffy-cloud presence drapes the eye of the viewer toward the center — like the calm after the storm.
The approach to her practice is quite impressive — a technique which applies thinned layers of acrylic painting on a large canvas, placed squarely on the floor with no outline drawing or sketch to work from, then gradually moving her brush over the surface with bodily motion, a continuous momentum which results in deep connection with the materials that she uses.
The outcome of each work becomes a visual collection of color and light, stemming from the strength of each brushstroke, subtracting pigment with a cloth and repeating the process until receiving the desired effect. This type of result is most apparent in the works Beyond Loulan, 2001 and Silk Road, 2001. The first work moves like a whirlwind tornado – overlays of light swirl strongly in the middle, moving outward into colorful projections of pink, white, blue, purple and orange — like a controlled nucleus of nature running amok.
The second work projects itself like patches of cotton-like imagery with subtle intensity and friction: the swirling organic-like shapes form out of the center and move outwardly like leaves on a branch toward the middle left of the canvas. All the while, a vague patch of dark orange and muddled purple appear within the outline of all this activity as if once painted beforehand.
Yoko Matsumoto isn’t an artist who who paints with the precision of a craftsperson, but one who believes in creative challenges as well. During the early 2000’s, her reconnection with oil paint brought her further interest with the color green and the subject of mountains and rough grasslands. Once seen as a problematic material to work with, these pieces are seen as successful results.
At Chelsea, 2008 conveys an intense array of thick colors, brought about with a combination of strong paint drips, an activity most prevalent in the way that, by close observation, colors interact with the dark lines that appear as skeletal and branch-like in its appearance – all the while more forceful dark greens appear like swamp marshes, done quite masterfully as it spreads vigorously throughout the work.
Lastly, Memories of April, 2024, is one of two small watercolors on paper pieces tucked away on the second floor that are both fascinating and visually appealing. A rectangular space of white surrounds itself by linear splashes of reds, pinks, orange and green hues, working sporadically in wide proximity, creating a kind of action painting that is most personal and intimate — each brushstroke moves from thin to thick lines, blobs and patches — bringing about a remembrance of light, continuity and space.
Given the power and vitality of this exceptional artist and this grand exhibition, Yoko Matsumoto will certainly delight, intrigue and sustain the most curious observer of mind, body and character.
On exhibit at the White Cube Gallery, 1002 Madison Avenue in New York City, till August 23rd.
