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11/12.04 - 1/8. 2005
   
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"When I'm working there are times when I think I'm like a sports player.
There are times when, just for an instant, my thoughts, feelings and
movements become one and something resembling a 'nice play' arises. So in
painting, I must be constantly preparing the conditions under which a 'nice
play' may be achieved."
Izumi Kato consistently engages the fundamental nature of human existence.
In his early works he intuitively painted embryo-like figures using his
finger as a paintbrush. These figures remained alone and silent on the
canvas. The artist's detailed descriptions and his emphasis on two
essential human features, namely the head and sex organs, reminded viewers
that humans are creatures of reason as well as instinct.
In 2003 Kato entered a period of artistic transition. He continued to
represent human figures, but the details of their features disappeared. The
artist's attention is no longer focused on exterior appearances, but rather
on the interior of the individual. Multiple bodies are now scattered over
the dark, monochrome background. Although these figures are no longer
alone, the feeling of loneliness is even more intense. In this total
darkness, none of the creatures can recognize the presence of the others.
The postures of some figures are no longer as well-behaved as in his early
works. They sit, stand, hover, run and swim. The artist attempts to convey
something deeply emotional within these dark images, which he embodies in
human-like figures. What could it be? Each viewer finds his own answer
through self-reflection and observation of the artist's "nice play".
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