Lyric no. 9: Distant Hope 1951

Editor: So, this is Koshiro Onchi's "Lyric no. 9: Distant Hope," made in 1951. It's a mixed-media piece, seemingly a combination of painting and something else… maybe collage? It’s making me think of early experiments in abstraction, it’s both grounded and floating, if that makes sense. What's your take on this, especially given Onchi's experimental approach to materials? Curator: This piece, precisely because of its mixed media construction, highlights Onchi's challenge to the conventional boundaries of art production. I mean, "painting" here is almost too narrow a term. Let’s think about the materials: what is this paper? How was the paint applied? The layering, the textures—are we looking at found objects pressed onto the surface, combined with traditional painting? Each choice in material speaks to Onchi's innovative labor as a printmaker during post-war Japan. He's elevating the everyday to the realm of art. Editor: That's fascinating. So you're saying it's not just about what the image represents, but more about the act of creation itself, and the materials used? How would that affect the art world's perception at the time? Curator: Absolutely. The gesture of repurposing and recontextualizing materials undermines the preciousness often associated with fine art. It brings into question what constitutes “art” versus “craft” by showcasing the labor and materiality involved in the making. In post-war Japan, with limited resources, this approach could be interpreted as a response to material constraints, transforming scarcity into a source of artistic innovation. Editor: I see... So it's about pushing boundaries. The context really informs the way we view the artwork. Curator: Precisely. Onchi's bold approach using combined methods prompts us to reevaluate the role of the artist, their relationship to their materials, and the societal influences embedded in their choices of production and consumption. It's a deeply materialist statement, if you consider all the aspects related to its manufacturing. Editor: Thanks, that's given me a totally new perspective on Onchi’s work. I was initially just reacting to the aesthetic, now I understand that the materials and process carry so much meaning!