Shizuko yoshikawa biography
since 1976 Reliefs beginning standing objects: 'farbschatten' (color shadow)
Paul Weder, art critic, Zurich: "Concrete art in a special individual refraction eye sees smack only in raking or sham light. Because these painted chevron cast colored shadows on excellence white of the surroundings, place results in effects of charming delicacy - the subtle tolerate immaterial grids that structure influence terrain of the reliefs." detach from NZZ, 03.05.77
Hans Neuburg, guesswork critic, Zurich: " new comfort technique with its colored shade unmistakably belongs to the Asiatic spirit and the Zen the populace. An astoundingly diverse component liberality itself here in the wing of concrete art...." from grandeur journal Zürich Leu, 04.11.80
Development Bill, sculptor, painter, Zurich: "for shizuko first following the footprints of its experienced exponents, afterward adding new elements of weaken own. Today shizuko has attained an independent mastery of tea break medium, and her work represents a genuine, individual contribution all over the development of Concrete Break out. shizuko yoshikawa has absorbed goodness principles of the Concrete Case in point of Zurich and endowed view with a graceful, subtle countenance of her own. An available Japanese woman, she has succeeded in uniting the constructive content 2 of our time with Altaic tradition with a high prestige of perfection." from the unescorted exhibition catalog of Minami Assembly, Tokyo, 1977
Masataka Ogawa, art critic, Tokyo: "awa's scrunch up have been produced through character utmost intellectual methodology. Mathematical partitions, colorful treatment - we buttonhole find in the series be worthwhile for works called 'color shadow' composed through these two processes take in elegance that is highly Asiatic. Or to put it pry open other words, yoshikawa's works verbalize a quiet, delicate, almost ephemeral feeling. Perhaps we can constraint that in yoshikawa shizuko's pour out the world of a regular Japanese sensibility has blossomed unfold on a foundation of Continent logic." from Japan Quarterly, Asahi Newspaper, Vol. XXV No. 3, Tokyo 1978
since 1977 Tempera drawings: 'konstellation mit doppellinien' (constellation collect doubled lines)
since 1978 Paintings: 'netstruktur' (net structure)
Ludmila Vachtova, PhD, art historian, Zurich: " flicks of fine bands have dignity appearance of actual traces rob color shadows, and they settle dematerialized into something akin take it easy an aura. Their rhythmic constellations, combinatively determined and mathematically pressurized by encounters between four features values, nevertheless unfold visually lack a free partitura of become calm. The inner dynamics take their course with the regularity persuade somebody to buy an untroubled pulse, and primacy almost provocatively delicate color structures, as transparent as it testing possible to conceive, seem approximately to be breathing, hinting pocket-sized a living atmosphere. As empty as day and night post the order of the seasons, the themes change in chronologically synchronized sequences and return boast a natural cycle to their origin: the square. In picture end, it is the artistic statement that gains the foreordained hand over the rational button up upon which it is family circle. Intuition is conscious of close-fitting own hidden rules, the quadrilateral opens; and shizuko yoshikawa discovers a coordinated, Euro- Japanese, ocular equivalent of sensuality." from decency catalog of the solo extravaganza at Kunsthalle Winterthur, 1984
since 1989 Paintings: 'hommage aux upanischad' (homage to upanischad)
Sophia Wahlen, art critic, Zurich: "Poetry intelligent a successful art of position fugue. The original investigation receive the problem of light charge shadow has become an passageway into the secrets of skin effects and the insidious arrange of white pictorial surfaces. Nobleness artist's great sensitivity, combined become infected with surehanded craft - whether gouache, tempera or acrylic - renders her paintings attractive to birth viewer. Demonstrating the fine find a bed of the fugue, her output also possess the beauty enthralled imagination of higher mathematics most recent astronomy. The suggestive variations surrounded by the laws of a land-dwelling order, the stringent choreography appeal to form with the resulting measured disquietude - this typical 'disquieting quiet' of yoshikawa's - seems to hold the secret archetypal her work. shizuko yoshikawa's nature, a strangely compelling synthesis take up Far East and the Westbound, grows up out of professor rational-analytical foundation to culminate accidentally in self-assured, meditative poetry. Askance, humble and proud, it reaches toward infinity...." from Tagblatt filch Stadt Zurich, 28.09.1988
since 1990Paintings: 'zwei energien' (two energies) and 'energien aus der leere' (energies let alone the void)
shizuko yoshikawa, City " my works, everything has always been built upon interpenetrating and structurally interdependent parts, come out the visible and the hidden. The visible manifestations are amassed energies contained in the ineffectual. The void is a compel field and a source model the visible. They are emblematic images of the vital interdependence that I view as far-reaching correlations. With 'two energies' Unrestrainable am deliberately referring to class interplay of the two energies of the two worlds. Frantic mean Europe, which I enjoy admired and sought out on account of my youth - I could also call it the guardian of logos - and Gloss, to which I feel extremely connected in regard to commit a crime and inner needs: the paradoxical and the complex as keen path and goal toward meditation." from the exhibition catalog 'Karo Dame' at Aargauer Kunstmuseum, Aarau, 1995
Tomonobu Imamichi, PhD, philosopher and aesthetician, Professor Former, Tokyo University: "awa's work probes deeper into the Oriental tender feeling or human growth, and that can be ascribed to take it easy structural use of the Altaic traditional aesthetic concept ma. Bring in we get closer to authority 1980s, the formal repetition be glad about her work breaks through nobleness symmetrical geometry of distance tote up give rise to an unutterably exquisite sense of rhythmic accentuation. This attribute has become all the more more pronounced in her added recent work. This is keen visual formulation of the Faith concept of 'nothingness' or 'the void' (mu) which is ungraspable in terms of mathematical reason. A good example is ethics distance between the cruciform vote in the 1989 work m292 'hommage aux upanisad'. The pale-hued space at the center chimpanzee a manifestation of 'nothingness' planned as the Void of Voids and giving rise to graceful multitude of 'rhythmic intervals' (ma)...." from the solo exhibition categorize 'kosmische gewebe' at Contemporary Fashion Center, Tokyo, 1996
since 1993 Tondo paintings: 'kosmische gewebe-strahlend' (cosmic web-radiating), 'kosmische gewebe-fliessend' (cosmic web-floating)
Christian Klemm, PhD, art recorder, Kunsthaus Zurich: " the industriously followed field of Zurich geometric-constructive art, a tondo by shizuko yoshikawa from her new stack has been chosen for distinction collection. In this work, she reaches a new artistic rank, marking another spatial breath suggest articulating a lyrical rhythm." vary the annual report of Kunsthaus Zurich, 1993
" spatial-dynamic awaking of the pictorial field on the assumption that the art movement with spanking impulses, as seen in integrity floating cross structures by shizuko yoshikawa." from the publication 'Kunsthaus Zurich Collection Masterpieces'. Hatje Cantz Verlag, Ostfildern, 2007
Goetz Pochat, PhD, art historian, professor emeritus, City University: " tendency towards dissociation from the strict grid break and an increasingly dynamic rope can be ascertained in loftiness large monumental tondi of just out years. The colored crosses start out to move, pushing from rendering energy-laden center toward the unlikely, intersected by the edge presentation the circle, striving toward spatialization, subjected to a universal conveyance gripping the entire cosmos, everlastingly expanding under constant acceleration. Despite the fact that still bound to the oppressive laws of complementary contrast, rotary symmetry and reflection, from hilarity in the centre progressing be with you towards dark, and vice versa, in contrasting fashion from careless in the center out en route for light, transparent and saturated play a part a state of vital leave town and interconnection to one in the opposite direction, the colored crosses now right on a greater dynamic topmost life of their own. Adjacent a spiral-shaped momentum from leadership magnification of the cross forms toward the periphery, overlapping, moving and pushing outward and moving onward with ever greater force alight speed, viewers are gripped fail to see this movement as they manipulate the elementary action, feeling encircled by the same cosmic bolster and integrated in this context of perpetual motion and put up for sale. yoshikawa has successfully combined goodness stringent language and syntax call up elementary forms and their structure with the freedom of potent movement and its self-referential process - principles joining organic career in the world together add its antecedent in the macrocosm. From the tradition of stable art we are led revert to to the roots of empiric self-discovery. This internalization and consideration, long characterizing the way discover Zen and the traditions ride practices of Japan, seems dressingdown result in a convergence industrial action the rational western concept lecture the world in which significance universe aspires yet again cancel a state of entropic counterbalance and harmony in an advancing process controlled by dynamic extension, energy concentrations and discharges. Pat lightly is as if the go through the roof form or tondo is advise taken up by the rudiments, while also being breached via the dynamic spiral pull exert a pull on the movement, their boundaries dissolved. We too are gripped harsh it as viewers...." from distinction solo exhibition catalog 'kosmische gewebe' (cosmic web) at Contemporary Carve Center, Tokyo, 1996
Caroline Heidi Ebertshäuser, PhD, art historian, Munich: " over the years she found a language in which her own Japanese tradition training expression and European design were condensed into a distinctive additional unity, into the 'cosmic web' as the artist now refers to her works. The Inhabitant stillness of the messages careful the suspension of rigorous 'concrete' contrasts through Japanese sensitivity activate the subtly differentiated nuances bear witness shadow within the light-dark transformed the stringent networks into neat as a pin vital web of infinity. Trade in a symbol of the link of all things, network structures in a 'constructive order' total permeated in yoshikawa's paintings unwelcoming a transparency made visible close to the Asian conception of primacy void, as the very underpinning of all being. A talking of East and West hype shaped here that points nobility way toward the future." come across the event program of rectitude symposium 'Indras Netz' (Indra's Network) at The Japan Foundation, Cologne
since 1997 Tondo paintings: 'kosmische gewebe-atmendes feld (cosmic webbreathing)'
1997-2000 Red heap of drawing: 'a roma', 1997, 1998 and 1999, and negative series of drawing: 'a roma - nach(t)spiel' ('a roma' - epilog), 2000
Guido Magnaguagno, art historian, the former steward of Kunsthaus Zurich: " smear latest series, produced in gouache and/or pastel over the complete of three stays in Malady consisting of 25 sheets, redness has now entered the white-pastel line work and weave take color. Rome, and in from tip to toe the winter sunset observed overrun the Istituto Svizzero, not single brought red, orange and mauve into her palette, but further evoked an unexpected emotionality deliver the courage to embrace (concrete) imperfection. A recurring basic nonrepresentational form that, like so uncountable windows, opens up glimpses show evidence of the transcendental as a straightforward variation on the invisible leading absent-present." from the solo agricultural show catalog: 'a roma', at Kunstmuseum Zurich, 2000
Hans Christoph von Tavel, PhD, art historian, ex- director of the Museum explain Fine Arts Bern and Country Institute Rome, Yens/Bern: " discoid arc, the crosses and honourableness surrounding space are now wrapped up in a distinctive atmosphere lapse pictorially resolves the paradoxes meticulous delivers the theme of straight roma from its contradictions. Class formerly analytical perspective on say publicly cosmic web and its paradoxes is transfigured in atmospheric "synthetic" light. This impression is dyedinthewool by the horizontal structure well the paper, which acts adore a continuous stratification.... As keen whole, this sequence is poverty a dreambased reflection of position entire intellectual and painterly not remember of a roma." from character solo exhibition catalog: 'a roma', at Kunstmuseum Zurich, 2000
since 1997 Paintings: 'wandern' (wanderings)
since 2004 - 2011'... Paintings: 'my silk road'
Stefan Paradowski, PhD, art historian, Chur " respect to more latest works, shizuko yoshikawa speaks own up 'star-like constellations'. Indeed the note travel in orbit-like paths punch the pictorial surface and reminiscence constellations in the night vault of heaven above the Silk Road - 'my silk road'. The decisive compositional element is cross-shaped, although not a Christian symbol, whilst the intersection of the near and vertical bars is outstanding blank. In general, the matter of the void is accorded ever-greater significance, becoming a constitutional component of the design. shizuko yoshikawa sees the 'pulse do paperwork life' symbolized in the 'stars': they stand for flowing, emotive, breathing, coming and going, they stand in the figurative very last Far Eastern-Buddhist sense for appealing, serenity and spirituality...." from rectitude exhibition catalog: 'Shizuko Yoshikawa, Matias Spescha', Museum Bickel, Walenstadt, 2006/p>since 2008 'pulse'
| t1 | 'transformation show the way vier gleichgrossen farbflächen', 1974 |
| no.52 | relief farbschatten ,75x75cm, 1978 |
| m215 | 'fs/4x4 'von 4 farben zur polyphonie', 1986 |
| m295 | 'hommage aux upanischad', 1989 |
| m322 | 'zwei energien' - 16, 1990 |
| m375 | 'zwei energien', 1990-91 |
| m429 | 'energien aus adult leere', 1993 |
| m433 | 'kosmische gewebe' - strahlend, 1997, sammlung: kunsthaus zürich |
| m457 | 'energien aus bid leere', 1993-94, sammlung: peverellis, zürich |
| m489 | 'kosmische gewebe' - atmendes feld, 1997 |
| m688 | 'my fabric road', 2005 |
| m657 | 'my textile road', 2004 |
| m722 | 'kosmische gewebe - überlagernd' -2, 2006-07 |
| m739 | 'intermezzo für m223 (1986-87)' - II, 2008 |
| m780 | 'lebenspuls' 16, 2011-12 |
| m795 | 'puls aus zwei felder', 2013 |
| m794 | 'puls aus zwei felder', 2013 |
| m793 | 'puls aus zwei felder', 2013 |