September 2023
Kei Imazu
Portrait of Kei Imazu, courtesy of the artist
Indonesia-based artist Kei Imazu discusses her inspirations, unique painting process, and a new solo exhibition at Jessica Silverman, her first in the United States.
Kei Imazu (b. 1980, Yamaguchi, Japan) received an MA and BA from the Tama Art University, Tokyo. She has enjoyed solo exhibitions at ANOMALY, Tokyo; Museum Haus Kasuya, Kanagawa, Japan; YAMAMOTO GENDAI, Tokyo; and ROH Projects, Jakarta, among others. Her work has been included in recent group exhibitions at Mori Art Museum, Tokyo; WHAT Museum, Tokyo; Nagoya City Museum, Aichi, Japan; Yokohama Museum of Art, Kanagawa, Japan; Jeonnam Museum of Art, Jeollanam-do, Japan; Palais de Beaux-Arts, Paris; Hübner areal, documenta fifteen, Kassel, Germany; Kyoto International Conference Center, Japan; Selasar Sunaryo Art Space, Bandung, Indonesia; and Jessica Silverman, San Francisco. Imazu lives and works in Bandung, Indonesia.
Interview by Natalie Varbedian
Please tell me about your origins as an artist. Who or what are some of your artistic inspirations?
My inception as an artist began when I realized that, even within what we term “painting,” there lies an immeasurable range of expressions. It struck me that just as every individual has a unique signature, each brings their distinct shape, color, and spatial perspective to their work. This seemed like a testament to the individuality of each person.
Since my childhood, I've had an affinity for drawing. I was particularly entranced by the shape of Bambi's legs from the Disney movie and found myself drawing them over and over again, completing at least a hundred sketches every day. From that period, I developed a fascination with specific body parts.
Furthermore, I was influenced by Japanese manga and anime from creators such as Osamu Tezuka and Hayao Miyazaki. Themes like worlds contaminated by nuclear warfare instigated by humans, heroines revitalizing the Earth with the assistance of plants and insects, a bird goddess who freely navigates the time-space of reincarnation, and cautionary narratives about excessive futuristic technologies have deeply resonated with me. These stories fostered my interest in environmental issues, the dread of nuclear power, and the imagery of women as symbols of regeneration.
Regarding oil painting, during my high school years, I was deeply moved by the artistic spaces conjured by painters like Maria Helena Vieira da Silva, Ai-Mitsu, Roberto Matta, Caravaggio, and Artemisia Gentileschi.
Kei Imazu, Blossoming Organs, 2023, oil on linen, 78 3/4 x 137 3/4 inches, photo by Shaun Roberts, courtesy of the artist and ROH Projects, Jakarta
Can you describe your painting process and how you incorporate 3D rendering software?
My painting process begins with defining a theme. It's essential to gather related materials, which include academic papers, books, visuals, and various objects. Integrating my personal experiences into this mix is crucial. After accumulating sufficient resources, I utilize 3D software such as Blender and Sketchup to transform them into digital objects. I then position these 3D-scanned models within a staged environment I've crafted. Subsequently, I adjust the lighting and generate multiple renderings from different angles of a single setup. These images are further refined in Photoshop, from which I develop the final design into an oil painting. While painting on the canvas, painterly strokes and gestures are added, somewhat akin to the relationship between a script and improvisation in theater.
Kei Imazu, Shadows in the Footsteps of Ancestors, 2023, oil on linen, 39 3/8 x 47 1/4 inches, photo by Shaun Roberts, courtesy of the artist and ROH Projects, Jakarta
Kei Imazu, Talas and Goddess, 2023, oil on linen, 23 5/8 x 7 7/8 x 3/4 inches, photo by Phillip Maisel, courtesy of the artist and ROH Projects, Jakarta
Kei Imazu, Hainuwele in Cerulean Blue, 2023, oil on linen, 31 1/2 x 23 5/8 x 3/4 inches, photo by Phillip Maisel, courtesy of the artist and ROH Projects, Jakarta
Please talk about the subject matter of your work.
Since the outset of my career, I've been interested in feminism, mythology, ecology, and environmental issues. This interest deepened upon relocating to Indonesia and experiencing childbirth. As an outsider amidst unfamiliar languages, customs, people, and beliefs, I grappled with understanding my new surroundings. This became the catalyst for my artistic pursuits. Historically, Indonesia, abundant in resources, was invaded by Japan during World War II and had been under Dutch colonial rule for a long duration. I live in Bandung, often termed the “Paris of Java Island.” It's a serene city, ensconced within mountains and replete with natural beauty. However, the nearby Citarum River is lamentably renowned as the most polluted river globally, primarily due to textile factories' wastewater and widespread plastic litter. These factories engage in subcontracting to produce global fast fashion. The wars driven by resource acquisition during WWII and contemporary capitalism's outsourcing are interconnected. Nations, though economically challenged but resource-rich, have perennially been coveted. In Indonesia, I palpably felt that the fecundity of both women and the land consistently remains a target in male-dominated structures. My art interweaves my experiences with myths, striving to showcase the vibrant and fertile essence of women, oscillating between celebratory and tragic depictions.
“My art interweaves my experiences with myths, striving to showcase the vibrant and fertile essence of women, oscillating between celebratory and tragic depictions.”
Sowed Them to the Earth is your first solo exhibition in the United States. Can you share insights about this exhibition and your journey in this new venture?
Sowed Them to the Earth was deeply influenced by a Javanese tradition where the placenta is ceremoniously placed in a ceramic pot and buried after childbirth. This rite is a tribute to the baby's soul, recognizing the placenta as the spiritual twin nurtured in the mother's womb for ten months. Even after setting up my studio in Indonesia, a part of me still felt akin to a traveler. However, a pivotal moment came when, after giving birth to my son, Taku, I buried the placenta that was carrying him into existence into Indonesian soil, which in ancient lore is symbolized by the emergence of a taro plant thereafter. This very personal, maternal experience introduced me to the Hainuwele myth from Seram Island, which tells of the story of tuber plants sprouting from the body of a goddess upon her death, signifying the dawn of sustenance for humankind. This myth is at the heart of my exhibit. Having my solo show at Jessica Silverman in San Francisco is an immensely proud moment. I was deeply moved by the familial warmth of the gallery and feel honored to have my work featured within the gallery program, curated with Jessica's distinct vision.
Installation view, Kei Imazu, Sowed Them to the Earth, Jessica Silverman, San Francisco, July 27—September 16, 2023. Photo by Phillip Maisel, courtesy of the artist and ROH Projects, Jakarta
Does the message of your work change depending on the audience?
Absolutely. The perception of painting is inherently subjective and can vary among viewers. A pivotal read for me was Elizabeth Grosz's Chaos, Territory, Art: Deleuze and the Framing of the Earth, which delves into the artistry of the Aboriginals. Their pieces encapsulate themes of creation and continuity, framing the present as a temporal link bridging past and future. The indigenous viewpoint on colonization is articulated through their bond with the land and its storied past. While at first glance it might resemble Op Art, the dots in their works symbolically represent life events related to the artist's ancestry and physical existence—such as childbirth, disasters, ancestral count, wars, etc. It's akin to a coded narrative, offering various interpretations to the beholder. To me, colonization is closely intertwined with the representation of the female form. I map these land memories and life events onto the female body in my larger pieces. The body serves as a repository of personal historical codes and offers a lens through which societal occurrences can be viewed.
Kei Imazu, Green Veins / Falling Goddess, 2023, oil on linen, 59 x 59 inches, photo by Shaun Roberts, courtesy of the artist and ROH Projects, Jakarta
What are your future endeavors? Do you have any new projects you can tell us about?
Besides continuing my painting practice, I have been delving into large-scale 3-D printed sculptures in my studio. In collaboration with Indonesian craftsmen, I have also begun the process of designing an expansive gate installation, which I plan to showcase within the framework of a solo exhibition at ROH in Jakarta. Additionally, with a museum solo exhibition lined up for next year, I'm thoroughly enjoying every day of my production.
Kei Imazu
Sowed Them to the Earth
Jessica Silverman
San Francisco
July 27 — September 16, 2023
Kei Imazu
@kei_imazu
Jessica Silverman
@jessicasilvermangallery
ROH
@rohprojects
Natalie Varbedian
@nataliev1
Natalie Varbedian is dedicated to examining changing conceptions of art and the disciplines of art history. She received her MA in art history from UC Davis while working as a teaching and research assistant. She has collaborated on exhibitions with several institutions, including the Bakersfield Museum of Art and the Fresno Museum. Natalie lives and works in Los Angeles, and her recent exhibition, Discovering Takouhi, is on view at the Armenian Museum of America in Boston.