The energy of the empty space
Japanese sculpture borrows its structure from the natural elements, occupying the space, finding its own dimension and its own existential value as if it was water or wind that don’t have their own shape and that are ready to accept the polymorphism of the elements they get in contact with, avoiding a collision that would disperse their energy. It is never aggressive and invasive whereas it is silent and uses to search for semantic dialogues that could allow the concave and convex surfaces to accept the subtle and at the same time meaningful weight of the air and of the light.
The Oriental art, especially the Japanese one, in its narrative and figurative form, developed a compositive structure that tends to the removal of the straight line, that refuses the intersection of the corner as a symbol of breakage while it claims it as a concept whose energetic meaning must be conveyed through a continuous flow.
The curved line and the sequence of peremptory round parenthesis, through the winding of the arching and the softness has found the way to interfere in the material world and has therefore made possible and obvious the transition from the ideograph to the pictograph and from the two-dimensional shape (sculptural a priori) to the three-dimensional mass; an harmonious expansion from the prospective to the actualized idea whose trajectory and changes kept the same harmonious principles of the phenomenal elements, that is to say the right balance between the parts.
When we look at Masayuki Koorida’s sculptures therefore, we become a whole with the pulses of the Universe through a continuous chase of curved and winding lines that give shape to the material elements without making them seem excessive or overflowing – even when the limited dimensions of these works suggest the punctual and analytical exploration of a reduced macro-world redefining the relationship between the particular and the universal.
The artist puts its own life essence into volumes that are unifying and full of contents, that limit themselves to the right physical expansion and that are always in tune with the surrounding environment. There is the undeniable certainty that only an additional hyperbolic twisting, an extreme and not pondered parenthesis, could unsettle hopelessly the superior order that is the ground rule of the existence of every terrestrial element and that represents the measure tape in the relationship
between the terrestrial element and the high and the spiritual and with spaces difficult to be rationalized and determined.
An experience that explores multiple materials and that makes us determine the flexibility but also the resistance and the rigidity of the elements towards the twisting and the mutations, an experience based on the respect towards the basic features of their nature and that allows the artist to interchange full and empty spaces, the abundance of the protrusions and the necessary indentations and absences. It seems as if he would like to express a thought that is looking for handholds instead of breakages, clarifications instead of misunderstandings with our perceivable world.
The material manipulated, frosted and polished by Masayuki Koorida seems to free a synaesthetic tactil involvement that does not require physical interactions. To accept the mystery of these works is therefore an accidental mental process of the spectator who does not contemplate merely a volume but rather a feeling suggested, never imposed, by the shape incomplete and at the same time immortalized in the stillness of the marble or the bronze, realizing the bond between reality and abstraction.
A new, bigger and more majestic sculpture –the environment- extends itself beyond the border of these apparently self-referential surfaces. The artist can only keep sacred distances from it even if he looks for dialogue opportunities and similarities. In this way, once we cease to observe these curves that lead to their centre through a hidden centrifugal force, a new dispersive magnetism lead us to their exterior allowing us to observe the atmospheric fluid that delimit their parts positioning this organisms in the continuous flow of a life that exist, inside and outside the things, irrespective of the rules imposed by the artist.
The strict iconoclasm of these volumes brings to the mind vague shinto and Buddhist recollections and minimalist connections tainted by eastern and western philosophies, the similar ends of two speculative paths extremely different one from the other. The denial of recognizable figures approaches this sculpture to archetypes that are going to be catalogued, and reminds us of the beginning of a Universe that has run out of its subversive and entropic tension only when the decoding of binary codes has shun the cosmic disorder, realizing a complex and incomprehensible logic superior order inside which the cosmologic constant that moves the expansion of the matter scatter and affirm itself in the energy of the empty space.
This symmetry sometimes is broken by an excessive parenthesis, by an excess always brought down by an expressive afterthought gives each work a physical and spiritual eternal bringing the earthly form of the object to a feeling of levitation that modifies the rules in relieving physical environmental spatiality is not appropriate to sculpture because of its material consistency. In this way it is evident that under the epidermal structure property of matter Atomic Energy flows and vibrates.
In the sculptures of the artist is so present (perhaps a prisoner) a primordial beginning mystical and unattainable, enclosed as a universal archetype of all that research for his subsistence nowhere. It from our limited thinking, new research actions towards the infinite and indefinite, aware that the matter can exist and continue to expand to the border invisible antimatter and that light exists only in the space of his absence. Therefore inside of a dark and terrible atavistic that smooth and shiny work of Masayuki Koorida looking , thinking and reverberating paroxysmally the light of defeat .