Drawing away from the conventions of story books, Ishida’s works explore the significance of images when they are set free from the written word. Outside this paradigm, the initial significance of the image is lost, and reconstructed as a new point of departure.
Originally trained in figurative painting, Ishida has abandoned the traditional elements of the Western style, such as perspective, composition and tone, in favour of incongruous objects and text sharing the same dimensional space. No single object within each work is particularly the focal point; instead, they maintain their own autonomous presence.
Ishida’s narrative is influenced by TV programmes that he enjoyed as a child, which were based on traditional Japanese folktales. Fascinated by the variety of mythological creatures and the human characteristics that they take on, Ishida has incorporated these anthropomorphic elements in the figures that inhabit his works.
The image, like a toy which draws us into play, invites the viewer into a fantasy space in which they can navigate the complexity of the canvas and the decontextualised illustrations. Merging time, space and logic, Ishida’s works have no beginning, middle or end to their stories, and channel the child-like curiosity of a story book.
Private view: Wings, Paws and Claws by Keiji Ishida
29 October 2015, Event time: 6:00pm – 8:00pm
Drawing away from the conventions of story books, Keiji Ishida’s works explore the significance of images when they are set free from the written word. The image, reconstructed as a new point of departure, invites the viewer into a space in which the decontextualised illustrations can narrate alternative stories.
Free but booking is essential at www.dajf.org.uk/bookin
19 November 2015, Event time: 6:00pm – 8:00pm
Keiji Ishida and Professor David Rayson, Head of Painting at the Royal College of Art, will discuss Ishida's practice and his current exhibition "Wings, Paws and Claws" at the Daiwa Foundation Japan House gallery.
Image: Polaris [detail], 2015, oil on canvas © Keiji Ishida