A long time has passed since Michel Tapié “discovered” Gutai art and, with a leap of intuition, mixed it to Western art in a setting he called “autre” Since then, however, a certain kind of painting, also called “informelle” or “action painting”, has been the most representative art form in the koiné of contemporary languages.
This tradition keeps regenerating itself, as shown in the exquisite paintings by Tamihito Yoshikawa, where his refined sensitivity reinvents a pictorial cosmos made of disgregating forms, as if dissolving or condensing, and tenuous, lirical signs or strong ones, like bonds. They compose a silent graphic frame on which the structure of colored spots merges and lies on. It lies on it, I should say, like a mass of seaweed, corals, mysterious and wondrous flora and fauna drawn from the deeps, may lie on a net drawn up to the surface from the bottom of the sea.
This elegance, measure, musicality, freshness of signs and colors by Tamihito Yoshikawa are the best proof of his exceptional quality and his skill in perpetuating through new inventions international avantgarde forms that are most congenial to Japanese sensitivity.