Atsuhide Ito

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My current work entitled The Megan Montgomery Project concerns nuclearity in the post-Chernobyl, post-Fukushima context of the global nuclear regime and energy production, circulation, and consumption.

My another interest is in dust, that is to say, the archival and haunting in relation to traumatic events. It appears that ghost stories emerge when victims of traumatic events find no plausible explanations for causes of the events.  Through research into minute (dust) and almost immaterial (ghosts), my research attempts to uncover structures of fear and attempts to illuminate an opening. Hair and a piece of chipped ceramic become equal as dust.  When collected both human and inorganic, both social and historical become entangled.  Dust is also a material and a metaphor for thinking beyond the anthropocene.

 

 

 

My paintings deploy strategies of deception and betrayal which demand critical reflections on the real. Since the completion of Separate Landscape series of 55 paintings in 2007, in which the production and consumption of non-places are presented as a form of violence, my paintings continuously produce oscillations between a process of concealment and apparition. Here painting is conceived as a from of return and delay. Slowly and very slowly I am working on a series of still life paintings.

 

 

   

One of the most recent series Susan's World returns to Walter Benjamin's notion of divine violence as a way to rescue the mythical aspect of Modernism.  Six paintings entitled The Angel of History, Daugava were produced during the residency at Plein Air Mark Rothko 2010 in Daugavpils, Lativa.  They reflect the recent news coverage of floods in various parts of the world but also Daugavpils' historically specific relationship to the river Daugava.  Mark Rothko's memory of going to school by skating on the frozen Daugava river was also a part of inspiration.  All the six paintings deploy Rothko's compositional structure, a horizontal division of a vertical canvas.  


One of the most recent series Susan's World returns to Walter Benjamin's notion of divine violence as a way to rescue the mythical aspect of Modernism.  Six paintings entitled The Angel of History, Daugava were produced during the residency at Plein Air Mark Rothko 2010 in Daugavpils, Lativa.  They reflect the recent news coverage of floods in various parts of the world but also Daugavpils' historically specific relationship to the river Daugava.  Mark Rothko's memory of going to school by skating on the frozen Daugava river was also a part of inspiration.  All the six paintings deploy Rothko's compositional structure, a horizontal division of a vertical canvas.