Lot 885: TAKANOBU KOBAYASHI

TAKANOBU KOBAYASHI
(Born in 1960)
Alone
signed, dated, titled and inscribed 'T.Kobayashi; 1998; Alone; oil on board' in English (on reverse)
oil on board
180 x 221 cm. (70 3/4 x 87 in.)
Painted in 1998

Kobayashi's style is characterized by appealing simplicity, symmetry and pale, harmonious colors. Referencing traditional Japanese painting style that flourished in the late 19th and early 20th century, his works have evolved into what he was termed "a new Nihonga". In his compositions, the objects he paints are placed in the center of the canvas, often reminiscent of close-up photography. With little or no background details, he gives great presence to the subject matter and emphasizes its internal significance. His works illustrate the feelings he has for and the relationship he has with his subject matter, which relates to the sense of dedication to the process of his work. Fascinated by the ability of various lights to transfigure an environment or object by the mere source of the lighting itself, Kobayashi's works are not mere observations of generic scenes as the selective illumination psychologically transforms the manner in which the viewer contemplates and accepts Kobayashi's works.

In Alone (Lot 885), an early work of Kobayashi, a submarine (a series from 1988-1994) sits isolated on a rooftop. The spotlight lit submarine probes the viewer to examine the psychological implications of the isolated submarine. Hiding in the quiet and rusticated space, the lightly glowing submarine seems to be simply searching for solitude. The hard shell of the submarine also provides protection and is comforting in its durability; its yellow colour reflecting gratification that this space was found. Yet like the other works of this series, the submarine is reminiscent of a shy child whom is often found cowering from the public, crouching behind trees, in parks and on rooftops. In the other works featured, Sunbather 9 (Lot 886), Sunbather 5 (Lot 887), we find that the results for this long search for comfort and acceptance has reaped fruitful results; the protagonist who sought refuge in the submarine in Alone finally shed his shell. In dialogue with Alone, the works from the Sunbather series was painted over a decade later and depicts a serene man and woman resting on seemingly white sand; they are so at peace that devoid of the slight shadows that trace the bodies, they appears to hover lightly in the air. Lying bare in his shorts and her bikini, the sunbathers smile and close their eyes in serenity while the viewer can imagine staring at them for an extended period of time, just watching as the sun shifts in the sky and the shadow follows. Kobayashi's protagonists are newly rendered as an alleviated being that lies exposed and inviting of the sun. Much of the earlier troubling loneliness and want for escape is resolved; the sunbather lies at leisure and reflects a much happier state of mind.

Evident in the transformation in style from rendering a dark and worn environment to an overall luminous and almost enlightened scene amid a move from a blunt, hostile palette to one that is soft and glowing, Kobayashi's artistic and personal developments are captured in the examination of these two works. While Alone suggests a search for happiness and comfort, Sunbather 9 and Sunbather 5 is the manifestation of the mental peace that Kobayashi seemingly yearned for.