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“Encrypted graffiti pictorials”

The laborious and detail-oriented “Encrypted graffiti pictorials”, which Tomoko Fait creates with a very personal, coded language alphabet of refined expressiveness, draw from the deep reality of her unconscious, of her daydreaming, imagining and inventing these eclectic solutions, to reflect and make one reflect about the world, seeking answers to the fundamental questions of existence and building vortex circuits and circular, intricate mazes, in the meanders of which you can live and fantasise freely.
The proposed forms, gathered from a strong and lively imagination, rest on bases that arise from a strong and coherent project design, where matter is conjoined to thought in a close, symbiotic relationship, creating emotions and fanciful visions, dreamlike and mystical, inserted in a dimension of universal cosmic pantheism. The evoked projections also refer to her existential journey with reference to her oriental origins, which remain a primary root of her being and her essence in the way of thinking about art and making art.
For Tomoko, a picture is a space in which everything is intertwined and becomes simultaneous in the aesthetic and visual impact: the synthesis of the image as a formal principle is changed into a unitary, totalitarian structure of the composition, in homogeneous units, with a connection ratio marked and built by the various sequential moments of the work, in an articulate and compelling scenario. Her production is oriented towards a gradual re-appropriation of the intrinsic meaning of the artistic material, which in the manifestation of visual and informal concepts, of an abstract and objective matrix, becomes a category of thought and expression of her own subjectivity. For the artist, it’s a matter of making visible whatever comes from the world of the imagination, to enclose within a clearly defined and delimited space whatever lives and feeds “elsewhere” and is surrounded by an atmosphere of enigmatic attraction. She manages to tune her work with a kind of personalised communication theory, into which different joints merge in balanced equilibrium, intertwine and retie with a “superior aesthetic and absolute criterium.” She measures space in an unreal way, viable: hers is one dimensional and composition geometry, liquid, fluid, dynamic, with movements led by a minimum variation of colour, essential and controlled, which gives the whole perception of the absence of space-time .
The tonal nuances based on the play of black/white and their combinations of grey in the reflections of light and shade, help to reduce the differences between the image thought of and its reproduction, translating the idea into visual form. She follows the criteria and principles based on her special communicative language, with marked changes in the syntactic rhythm, returning a mimetic impulse of thought, cutting it out and sparing it the supernatural dimension and taking it back into a prospect of accessible receptiveness shared with the viewer. The idea impressed upon the picture becomes tangible thought in a constantly reversible evolving process, in which rational order is suspended and subverted by the dominance of introspective psychology, which builds its own shape.
Comment by: Elena Gollini
Venice, September 2014. (Palazzo Rota-Ivancich)

  2015  /  Review  /  Last Updated June 7, 2017 by developer  /