For the two-channel work Asking the Repentistas – Peneira & Sonhador – to remix my octopus works Shimabuku asked two Brazilian street singers to compose a ballad about his previous works with octopi (in which he created traditional Japanese ceramic vessels to catch octopi, with a fisherman who took him on his boat to test them out as we can see on one of the channel). In the Brazilian singers’ ballad, Shimabuku is transformed into a fisherman, the greatest fisherman in Japan, but a kindly fisherman who returns his catch to the sea. The artwork thus becomes facilitator for an interaction between different cultures and interpretations.
In her geometric paintings on wood panel, Madriz employs the Fibonacci numbers to illustrate, in simplified form, the pattern of natural plant growth—beginning from a single stem, and growing exponentially, rationally, and efficiently outward from there. Tinting the underlying wood but not covering it, Madriz’s delicate cubes seem to hover on the surface of the warm wood surfaces, drawing more attention to the grain and its own natural pattern. Always drawing the attention back to the natural world, Madriz’s multimedia works aim to reassert the natural, and our own links to it.
Born in Costa Rica and living in Germany, artist Lucía Madriz has a global perspective...
Born in 1969 in Kobe, Shimabuku is an artist who collects unusual encounters...
For the two-channel work Asking the Repentistas – Peneira & Sonhador – to remix my octopus works Shimabuku asked two Brazilian street singers to compose a ballad about his previous works with octopi (in which he created traditional Japanese ceramic vessels to catch octopi, with a fisherman who took him on his boat to test them out as we can see on one of the channel)...
In her geometric paintings on wood panel, Madriz employs the Fibonacci numbers to illustrate, in simplified form, the pattern of natural plant growth—beginning from a single stem, and growing exponentially, rationally, and efficiently outward from there...