Destruction for Creation is a title that was born after the earthquakes of August and October 2016 in Umbria when the Soichiro Shimizu project was maturing in its ateliers in Bangkok and Tokyo. The form / content of the works highlights a connection with the mineral nature, the aerial view of the planet, the bark structure, soil thicknesses, leaf designs, landscape wrinkles, solidified canal channels, sinuous lines of torrents , The rugged surfaces of the stone ... and then we must not forget that the artist comes from a country, Japan, which on the anti-seismic culture has built an ethical (and architectural) pillar of its own civilization. Hence the idea that any destruction is the starting point for a creation, to absorb mistakes in shared growth, by giving false passage of yesterday the skillful step of tomorrow, instilling in the work the value of the experience and the sign of a Holistic revival.
The history of humanity is full of fractures, disassociates, breaks, upsets, pressures, pushes ... the very biology of the Planet is an immeasurable battle between conflicting forces, a gigantic and noisy chaos that mingles life and death in a persistent and fragile equilibrium ... Umbria and Japan are places on the mappamondo but similar for internal geological conformation, for underground dynamism, for the amplitude of environmental silence, for a meditative mysticism that in the mountains finds its room of human wonders ...
SOICHIRO SHIMIZU is a Japanese artist who is entering an ideal bridge between European values and Asian culture. Born and raised in Japan, for some years he spent some time in Bangkok where he made the most indicative steps of his research. This in Spoleto is an Italian debut that comes after several trips to Umbrian territory, after a gradual knowledge of our territorial flora, geological conformation, religious symbolism, architectural theme, artistic and book heritage ... Shimizu understood the fragility of our Territories, religious and civil architecture, millennial archeology, amenable beauties that are consumed as bodies of resistant muscles and fragile bones. At the same time, its reactive eye is metabolizing the spiritual values of Asian cultures, the profiles of the beloved landscapes, the centrality of trees as divinatory channels. The two geographic dimensions become internal realities that blend as overlapping and dialogic plaques: and here looks, languages, habits and actions follow the same white noise of the sky, trample the same green on the ground, caress the same brown of the trunks .... The work itself, the result of a battle between destruction and resistance, ends with a restored harmonic order, like butterfly wings that paint the body (and air) with the perfection of the right universal rhythm.
Shimizu's look acts on the boundary between Man and Nature, evoking the expressive value of the geological power, the figurative quality of the materials that are transformed (from liquid to solid, liquid to gaseous, solid to liquid ...) to define the imprint Final of an iconographic biology. The execution techniques are the counterproject of this fusion between Man and Nature: the artist first stratifies the natural lands with a long and methodical mechanism, acting on the tonal ranges, the thicknesses, the adjacities; Then begins a work of incision, equally long and methodical, that tattoo structures with decisive waves; To complete the process comes the fire and other elements that consume and deteriorate, bringing apparent "destruction" into a substantial, shamanic, strongly geological "creation". The patterns of the pictures, which can be linked to their "twins" drawn on paper, show a proliferating ramification, similar to the circulatory and nervous system of the human body, the neuronal networks, the structures of certain bacteria, the growth rings of the trees, the cobwebs, The turtleneck, the squirrels of the reptiles, the geometric systems of the galaxies ... similarities that are never equality, energies in action that produce autonomous, hybrid but completed patterns, majestic on that fateful boundary that unites Man and Nature.