Organized with Olivier Renaud-Clément, this intimate presentation embodies Matsutani’s intuitive and enduring connection with his materials over the past six decades, including a new work created in the artist’s studio and home during this period of isolation.
In keeping with his Gutai roots, Matsutani strove to identify and convey the essential character and expressive possibilities between vinyl adhesive and graphite. It is this confluence of materials, as seen in recent works ‘Propagation 15-2-5’ (2015) and ‘EVOLUTION-99’ (1999), that epitomizes the distinctive visual language the artist has made his own over the last 40 years.
Alongside Matsutani’s rediscovery of the power of black and white, he also started to adopt bright colour planes and shaped canvases with a very personal palette, this is highlighted in ‘Three Circles-19’ (2019), photographed in the artist’s studio in the past month during isolation. Talking about whether the current global pandemic has changed his practice Matsutani says: ‘a little bit at first, but I find my routine is the same and focus on the work is the same. In the end, the beauty is still there and continues to exist.’
This online exhibition follows Matsutani’s retrospective survey at the Centre Pompidou, Paris in Summer 2019 and coincides with the re-opening of ‘Takesada Matsutani: Prints, 1967-1977’ at les Abattoirs, Toulouse, in partnership with the National Institute of Art History, France (INHA). The artist’s work is also featured in our current group presentation at Hauser & Wirth Hong Kong, open until 30 May.
Under the umbrella of Hauser & Wirth’s new global philanthropic and charitable initiative #artforbetter, we are donating 10% of gross profits from sales of all works in our online exhibitions to the COVID-19 Solidarity Response Fund for the World Health Organization.