Beyond 2011

Curator: Beyond, a 2011 ink drawing by Kazuaki Tanahashi… its energy just leaps off the paper, doesn’t it? I am initially struck by its minimalist approach; it's all about form, isn’t it? What do you see when you look at it? Editor: Yes, the energy is quite captivating. There is an ethereal quality to the shapes, as though they were emerging from some cosmic origin point. How might you interpret this work? Curator: I think this piece operates within the historical context of Japanese calligraphy, or *shodo*, but subverts it. The black ink strokes against the white space, for me, becomes a powerful socio-political statement. The form feels grounded and untethered at once. How does it make you feel, thinking about *shodo*’s ties to Zen Buddhism? Editor: I did notice a hint of *shodo*; now I see that the free-flowing strokes push against tradition. I'm thinking now about other artwork where a singular form holds a larger meaning. The empty space almost vibrates. Curator: Absolutely! In traditional *shodo*, empty space is equally important, holding just as much power as the active marks. By abstracting away from readable script, Tanahashi is able to offer us an immediacy with the ink itself; raw feeling over coded meaning. What I find really compelling here is thinking of "Beyond" as pushing through these restrictions, using emptiness to redefine freedom itself. It makes you question what constitutes rebellion, doesn’t it? Editor: It truly does! Thanks for helping me to delve beyond the surface and to explore that potential narrative. It is amazing to consider its implications in broader cultural practices. Curator: Likewise. Hopefully this piece inspires us all to see tradition as something to converse and grapple with rather than adhere to blindly!