The Brooklyn Rail

SEPT 2016

All Issues
SEPT 2016 Issue


On View
Marlborough Chelsea
June 23 – July 29, 2016
New York

In the great chain of being, brute matter has never fared well. Cast as cold, lifeless, and dumb, denizens of the rock, earth, and mineral worlds have long occupied the bottommost rung on the ontological ladder—a ladder that, having been fashioned by us, naturally has human beings somewhere at the top. While new materialist philosophies are slowly tipping the scale on its side by exploring the subtle vitality inherent in matter, many artists are engaging with materials in ways that render this cultural shift concrete and experiential. Yoshiaki Mochizuki, who before coming to art worked as a buyer of loose diamonds, is one of them—and one whose intimate knowledge of that formidable crystal endows his work with singular power. In his latest show, twelve paintings made with the artist’s signature burnishing technique charge the gallery’s light-filled space with matter-in-action, and, in their relational complexity, urge us to reconsider some of our most entrenched assumptions about the nature of human agency.

Yoshiaki Mochizuki, Untitled 5/25, 2016. Gesso on board, clay, and moongold leaf. 20 × 20 inches. Courtesy the artist and Marlborough Chelsea.

Matter is anything but brute in Mochizuki’s work. Entering the gallery, it quickly becomes clear that the dark, deceptively minimal works punctuating the walls are in fact exquisitely crafted accretions whose jewel-like surfaces come to life as one moves through the space. While stony hues and shimmering metallics predominate (the artist works only with natural materials such as clay, graphite, and metal leafing), specks of richly pigmented inks flicker here and there like fragments of gemstone embedded in shale. Throughout, dense patches of burnished and incised lines overlap to form irregular geometric shapes suggestive of geological strata, their variously reflective surfaces appearing or disappearing relative to one’s viewing angle. To move around the pieces is to experience a shifting kaleidoscope of visual events whose entirety is inapprehensible from any one position. Rhythmic and fugue-like, this is work that unfolds in time, its imbricated facets being just as temporal as they are spatial. Rich, resonant, and deeply mysterious, the sound it evokes is that of geologic time: a score we know only dimly and that largely transcends us.

While allusions to the non-human world are a pervasive refrain, Mochizuki’s work is never without human presence. A distinctive feature of his surfaces, which result from a complex process of sanding, polishing, and otherwise abrading, is their persistent invocation of the viewer by way of reflection. In Untitled 4/1 (2015), for example, the ghostly image of one’s gazing figure looms conspicuously across the painting’s granite-like surface, the latter’s distressed texture resembling an abandoned mirror being slowly reclaimed by the elements. The effect is both unsettling and stirring. Seeing oneself obscured, abstracted, and set back into the depths of the material elicits an uncanny feeling of partial self-recognition. But you’re never there alone. With a particularly subtle use of visual metaphor, Mochizuki always hangs his paintings at his own height of five feet, nine inches. All relatively small in scale (the largest in this show is twenty-by-twenty inches), the paintings become surrogates for the artist’s head: dense compressions of organic matter teeming with vitality and actively engaged with the full manifold of their surroundings.

This interweaving of human and nonhuman gives Mochizuki’s work a relational complexity rich in consequence (quite aside from its special resistance to capture technology). With so many active forces involved—the dynamic capacities of the manipulated materials, the works’ placement relative to the spaces they occupy, the mobile body of the viewer amid the shifting conditions of ambient light—a question arises: Where, exactly, is the work? If the work can’t be located in any singular (or fixed) source, it can only inhere in the relations themselves—in the dynamic and open-ended field of interactions between participating agents. It is a recognition both perceptually thrilling and steeped in significance. For if this is true of Mochizuki’s work, is it not true of human agency as well? Are we ever really separable from the confederacy of forces that act on, in, and through us while we act on, in, and through them?

If Mochizuki’s work is a testament to the generative potential of matter and our fundamental interrelatedness with it, it is also a potent reminder of our utter infancy on the planet. After all, the diamonds we covet precede us in existence not by millions but by billions of years. It’s a humbling thought, and one that cannot have been lost on someone who’s spent countless hours in their presence. One imagines that while gazing deeply into these structures trying to distinguish impurities from the dazzling constellations of their mirrored reflections, Mochizuki might have had a further insight: perhaps the reason we can have such a profound response to matter isn’t just that we’re related to it; it’s that we are it. With its extraordinary beauty and depth, Mochizuki’s work offers an experience in which this might occur to us too—not consciously, but somatically, deep inside the very minerals and molecules of our being.


The Brooklyn Rail

SEPT 2016

All Issues