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Yu Nishimura has once more expanded his spectrum. It seems the visual temperature and depth of each of his paintings, drawings, and watercolours have become more granular, and with this, the freedom in their making has grown. While it remains possible to distinguish what is depicted in the works—a portrait, a landscape, an abstraction—all of them hover in a state that not only nullifies these categories but even more radically flattens them: A portrait becomes a landscape, a landscape becomes a still life; abstraction and representation amalgamate into a form of temporal coexistence that Nishimura reconciles in a most sensual, occasionally deadpan humorous way. As far as the specific motifs vary, seashore (2025) and pommes de terre (2025) share something akin to undersea (2025) and avocado (2025)—a certain tone, a humming, a sound, or perhaps something tangible, considering the artist’s repeated references to air and wind.…
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Press Release
Yu Nishimura has once more expanded his spectrum. It seems the visual temperature and depth of each of his paintings, drawings, and watercolours have become more granular, and with this, the freedom in their making has grown. While it remains possible to distinguish what is depicted in the works—a portrait, a landscape, an abstraction—all of them hover in a state that not only nullifies these categories but even more radically flattens them: A portrait becomes a landscape, a landscape becomes a still life; abstraction and representation amalgamate into a form of temporal coexistence that Nishimura reconciles in a most sensual, occasionally deadpan humorous way. As far as the specific motifs vary, seashore (2025) and pommes de terre (2025) share something akin to undersea (2025) and avocado (2025)—a certain tone, a humming, a sound, or perhaps something tangible, considering the artist’s repeated references to air and wind.…
