About Kenryo Hara in “NEUTRAL-ISM at MEDIOLANUM MUSEUM, Padova, Italy” – 11st November – 12ve December, 2016
by Francesco Perilli
Kenryo Hara creates works on canvas and large paper that blend Eastern and Western media such as ink and acrylic on rice paper or canvas matching them. Japanese uses brushes of various sizes that require the body and the stroke of the gesture to move around the painting. His paintings are also full of calligraphic elements, where the outline of the shape is the imprinting of calligraphic brushstroke. There is a deep spirituality in the technical neutralist feature from his work, which is inspired by the concept of the tradition of the literati and Eastern philosophy, which combines the freedom of expression of its blacks and dynamic brushstrokes. The works of Kenryo Hara always involve the display of ancient cryptic visual communications that emerge from his meditation. His messages evoke a particular state of mind which draws the viewer in his eyes and in his immobility. The expressive compositions Kenryo refer subversively Japanese writing configuration, as if it were a commemoration for humans in the past, present and future. There is some mysterious quality in Kenryo painting that cements a state of serenity inside the viewer, as if he could see through the painting a flow of time that is neither past nor future, but rather a state of eternal existence. Her painting is inspired by his life by offering his denials, his struggles, his acceptance and love in this world, exploring the space between the state of being and the subconscious that questions the human existence, social discrimination and spirituality. Long drapes Kenryo recall the painted traditional Japanese writing by analogy reminding the waterfall, but the fluidity of its ink brush strokes on the canvas depicts different figural animations of sentient beings in the abstract and expressive while, of course a metaphor for life. Kenryo has blended the aesthetics of calligraphy with expressive lines to portray a series of writings and animations that, in the descriptive paintings, represent perhaps the sacred, the mundane and animality. The multiple representations fill the center of the painted surfaces of long drapes of cloth that reach the floor, creating an interactive environment that allows the public to access a world similar to a “Facebook alternative” urging the viewer to contemplate the nature of sentient beings and at the same time, questioning the meaning of their identity and the meaning of life.
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