visual arts
BY SUZI STEFFEN
Open, Yet Unbroken
Kazuaki Tanahashi’s work at
White Lotus enchants, inspires
C
an an artist simultaneously honor
hundreds of years of tradition
and create something that breaks
tradition?
Calligrapher Kazuaki Tanahashi would
likely say yes. Tanahashi, whose “Brush
Mind” exhibit opened at White Lotus on
Valentine’s Day, mixes traditional methods
and Zen Buddhist iconography to create
work at once calming and intense.
At the gallery, it’s easy to see three
distinctly different tracks emerge even
though Tanahashi paints each piece on
manageably sized canvas with a single
acrlyic fi gure. One track, the least
interesting, involves massive single
brushstrokes across the bottom half or
third of the parchment canvases. The
strokes incorporate a variety of colors
— orange and red, or blue and green with
some yellow mixed in, for instance — and
run off both sides of the paper. Tanahashi
gives many of his similar paintings the
same name, in this case, Happiness. The
red Happiness at the gallery contains more
playful brushwork, a more complex terrain
for thought, than the orange painting with
the same title.
Another path Tanahashi follows is that
of calligraphic ideograms. In countries that
use ideograms to communicate, calligraphy
artists work hard. They study for many
years in order to master the movements, the
balance and the insight necessary to create
stunning, perfectly centered ideograms on
bare backgrounds. Tanahashi was born in
Japan and spent many years laboring and
loving his art before moving to the U.S.
in 1977, and his work slyly mixes the old
country and the new. Compassion, for
instance, combines a wide, airy base with
a more compressed peak, where a streak of
gold enters the dark paint, and Enjoyment’s
bright red tangles teeter atop a playful
combination of more solid strokes.
But there are also fi gures like One, a
one-stroke work, which leap out with their
powerful play of white movement on black
backgrounds. At the rear of the gallery,
One is paired with an explosion of white
Part of the reason these pieces jump out is
the very Zen acceptance of splatters.
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