ARTISTS

KenryouGu

顧剣亨 Kenryou Gu

Create a pixel-by-pixel space by superimposing multiple perspectives on a single photo

The "Kyoto Tower", photos taken from the top of Kyoto Tower is being exhibited. The photos taken as the "Cityscape" series are taken from the highest observatory in each city. When asked if there are any differences between cities, Gu says, "Honestly, if you aren't closely familiar with that city, you can't tell that much. Each city is similar, and if you omit humans from the city, it's indistinguishable."



"It's important that it's a city, but it doesn't matter which city it is." However, there are rules in the "Cityscape" series. That is, shooting at the highest observatory in each city. "At observatories, you first go up by elevator, and the windows cannot be opened at the destination, and most of the five senses are missing. It is impossible to distinguish whether you are really looking at the city or a panoramic monitor." In modern times, Gu thinks that machines and technologies are evolving at a high speed and the human body is not catching up. "To pursue efficiency. There was a sense that there was a disconnection in reality, which was the impetus for making this series."

"Until I entered university, I didn't know the existence of contemporary art." Gu was making robots until high school, and those around him thought that he would become an engineer. He initially wanted to go to medical school, but by the time he realized he was in art school. He originally took pictures as a hobby, so he decided to study photography. He says, "Once I started studying contemporary art I realized that there are mysterious aspects to contemporary art." He used to take so-called ordinary photographs up until that point, but says he was easily bored.

Gu was the interpreter for Cai Guo-Qiang during PARASOPHIA in 2015. From his experience in making robots, he decided not only to be an interpreter, but also to do maintenance for robots. He says, "During that time, Mr. Cai took a liking to me, and from that point on I was called as an exhibition assistant." By working closely with a top artist, he was able to learn more about contemporary art. He was also influenced by Noboru Tsubaki and Mariko Takeuchi. "Mariko Takeuchi directly telling me, 'It's okay to not know,' has made an impact on me." It was apparently shocking that it was alright to not have an answer for things.



After graduating from university, his art just became bigger and bigger. In terms of art space, he exhibits large works of 2m x 3m, but he has made tons of larger pieces. He explains, "Even when I laid out my work at the production site, I could only unfold it to half its size and could not see the whole picture of the work." He was dissatisfied with the fact that the photographs he saw on the monitor and the actual products he saw after printing were completely different, and he couldn't unfold them fully for confirmation. He returned to Kyoto in search of a large production space, but he says that because he has always been going back and forth between Tokyo and Kyoto, he doesn't feel like he has changed bases. "My shooting style has always been to take pictures while traveling and then to edit them, so I don't really have a set base."

What Gu values as an artist is to create works that he doesn't get bored of. "I get bored easily, and when I was in university I used to put out rapid prototypes once every 2 weeks, but I quickly grew bored of all of them, and to me not getting bored also means that I am not understanding something fully. Mr. Cai said this to me as well, but as an artist it is always important to have a bit of a child-like." In Gu's works, you can feel his purity toward his pieces, as well as a terrifyingly detailed fun to them.



In the "Cityscape" works, you can see the pixels when you get closer, and what you see when you back up is entirely different. Your eyes can never get in focus. I want you to see the art for yourself and enjoy the mysterious experience. Mysterious images that look like textiles but also paintings are created. You can kind of grasp the whole view through a monitor, but when you stand in front of these big paintings, you will be amazed by the details. There are buildings, temples, cars, and although our cities are obviously projected here, you can feel the texture without a sense of any life. "These works employ an original composition method that can't be conveyed online at all." Please take a look for yourself and be overwhelmed by his work.

The concept video created by Alina Zhdanova

Kenryou Gu

Solo Exhibition
2018 "Utopia" Graduation Show Kyoto University of Art and Design
   "Utopia" Former Junpu Primary School
   "Wu-Mai" Wacoal Studyhall Kyoto gallery
   "Utopia" Gallery Water, TOKYOGRAPHIE 2018
2019 "Inbetweening" sanwacompay Tokyo showroom
   "sampling" Sfera, KYOTOGRAPHIE 2019
2021 "A PART OF THERE IS HERE" (YUKIKOMIZUTANI GALLERY, 東京)

Group Exhibition
2014 "Hi, my name is…" Shokudo Ruins, Kyoto
2015 "Uryuyama?" Galerie Aube, Kyoto University of Art and Design, Kyoto
2016 "Kyoto Survey Project" ABSship Gallery, Kyoto
   "Artotheque Selection" D&Department Gallery, Kyoto
2017 "Open House" Contemporart Art House Gallery of The Youth
2018 "Utopia_i" Art Award Tokyo Marunouchi 2018
2019 "Today is" Sony Square Shibuya Project
2020 "2020061620200726" Roppongi Tsutaya Books Gallery, Tokyo
    "Yurakucho Art Sight Project" Yurakucho Shin-kokusai Building, Tokyo
    "ENCOUNTERS" ANB Tokyo, Tokyo
2021 "Collision point on teh dimensions" The 5th Floor

Award
2018 Utopia Kyoto University of Art and Design Graduation Show Grand Prix
   Utopia KYOTOGRAPHIE Satelite Event KG+ Grand Prix
   Utopia_i Art Award Tokyo Marunouchi 2018 KoyamaTomio Award
2019 Inbetweening sanwacompany art award / art in the house 2019 Grand Prix

Art fair
2018 ART OSAKA 2018
2019 ARTISTS' FAIR KYOTO 2019
2020 ARTISTS' FAIR KYOTO 2020

Main commission work
2019 Universal Music LLC (Jingumae, Tokyo)
2020 Mitsubishi Estate Co., Ltd. (Otemachi, Tokyo)
   DMG MORI Mori Seiki (Iga Campus)

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