The waves,30.5cmx23.3cm,oil on canvas,2020

                                    Tress,21x28cm,water color and pencil on paper,2020



          Time,19.5×19.8cm,oil on canvas,2020














Sound from the dessert,21x28cm,water color on paper,2020
arashi no naka niwa/嵐の中庭,21x28cm,pencil on paper,2020







unite the strings, 38x33x33.5cm,mixed media,2020



versus,23.2×30.5cm,oil on canvas,2019






blue moon palette,24×30.5cm,oil on canvas,2019


daily necessities,2019







Kanako Tada
’s “daily necessities”(2019) embodies an intersectional exchange between art and decoration.Her idea is fundamental; daily tools or ready-mades come up to art, vise-versa art turns into a daily or environmental decoration. Rather, such an exchange is a natural liquidity. “daily necessities” draws her experience as a painter, making her represent how we treat ego which belongs to our labor, ideality, and absent/present.There are two organisations: pieces of mosaic in front of the sink; pieces on the wall in the exhibition space.They are subtly looking around,breathing, and coexisting with all the artworks in the space.

written by Kanako Tada




repeating is love,2019

Credit of the images:
(c) – Joanna Pianka


Kanako Tada

“repeating is love”

15 paintings, 33x33cm, oil on canvas, 2019

In her new painting repeating is love (2019), Kanako Tada embodies the process of repetitive acts that imitate an existing motif. In sequences of fifteen paintings, one can see a continuation of the time, tracing her attempts to deconstruct the form and thus to internalize them into her own. From the whole to the part, from figurative to abstract, an original outline eventually disappears and sublimates into a micro perspective, while two colours are inverted through a metamorphosis of figures. This is not a liner process that ends at one point, but appears as a continuous movement that remains impermanent. The haptic materiality contains great presence; pigments shine on the surface of a roughly woven canvas, making the texture of threads visible. This raises the question: what is a state of perfection; illocutionary smoothness or homogeneity? The installation of the work evokes a viewer’s experience of the physicality of the artist; shifting one’s balance and eye sight downward.

written by Miwa Negoro(curator)