What does an image sound like? Is it of a sonorous quality and if to depict its essence would we lose the language that inhabits its form, as it is incongruent to its natural state? Without this language and the ability
to describe its physicality, we are left with questions that border on the mystic. We are conditioned to understanding the sound of the Pythagorean hammer, but cannot see its handle or the iron that it strikes to create the reverberation that we hear from outside of the blacksmiths stable. And what of the fires that create the infernal and malleable change in the elemental structures that is the hammer’s target? What representation may we qualify for it in the hammer’s theatre?
Daisuke Yokota’s work oscillates between process and the non-representational. Photographic in base element, the physicality of his works pay significant homage to the alchemical through process-the ritual use of fire and the incalculable transference of silver from its base to another alien surface. To suggest that his process speaks of a language his own is apparent. Yokota contemplates the natural order of the molecular, but does not destroy its intent, but rather qualifies its metamorphosis into a physicality that is abstracted towards the surreptitious. What we observe in the works final state questions its transformation and its state as a post-product of an inaudible quality.
On view are two bodies of the artist’s work. The selections from “Taratine” exemplify but one aspect of Yokota’s interest in the body, process and what could be considered the monochromatic elegy of the representational. MATTER/VOMIT is a completely different methodology. The works are unique and non-representational. Burned en masse or distressed, silver emulsions are challenged though the rituals that Yokota incorporates. The works speak on what it is to wade through the volumes of images we see daily, but in an eviscerated form. The work is contemplative of the behavior and language we use to understand the relational communication of photography through its opposite-absence and negation. Yokota challenges the viewer’s relationship to the pre-conditioned observation of the work and the possibilities of what he or she projects upon an image of nebulous quality.
Please join us at Float. for our inaugural exhibition of Daisuke Yokota’s Keys Tuned to the Pitch of Flame.