Yuko Shiraishi works with paint. She adheres to the integrity of the work on canvas, its possibilities and confines. At the same time, her practice extends beyond the edges of individual paintings into an examination of the space around them.
In this exhibition, the viewer is taken through a series of deliberately paced rooms that relate both to the interior structures of the paintings and to the idiosyncracies of the gallery spaces.
In his perceptive essay, Marco Livingstone discusses the range of ideas and associations that seep back from the world we inhabit into the development of these paintings.
These ideas are also apparent in the artist’s selection of photographs that form a coda to the exhibition. Each has a sense of the culmination of an episode, a moment that defines a complex history.
Andrew Benjamin looks more closely at the relationship between photography and painting and moves it from the standard discourse of the formal inter-dependence of figure and ground to a more compelling discussion of the relationship between what is going on inside the work and what is exterior to it.