Some look like riffs on M.C. Escher. Others seem like three-dimensional origami. A look at how Takako Yamaguchi's art plays with the eye and brain.
The first visual sweep of the gallery walls at the Pico-Union gallery As Is leaves an impression of extreme restraint. Takako Yamaguchi’s 17 oils on linen are all of the same modest size and hushed palette, a narrow spectrum of cool whites veering toward gray, and warm whites leaning brown. But the whisper too is a rhetorical device, capable of carrying as much intensity and urgency as a shout — and a lot more virtuosity.
Geometry prevails in these untitled works. The L.A.-based Yamaguchi either presents the canvas as if a sculptural element itself, painted with ridges and creases and layers of depth, or treats it as a neutral surface upon which she renders a form atop , as though in shallow relief. As she plays with illusion and dimension, these highly reduced images open up, their formal distillation yielding conceptual complexity.
Earlier work embraced the stylized and ornamental more explicitly, drawing from kimono fabrics and Japanese screen painting, the landscapes of Roger Brown and the animism of such early modernists as Agnes Pelton. Yamaguchi is represented in “With Pleasure,” MOCA’s current survey of the
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