Japanese artist Keita Mori has been selected for the 2017 edition of Drawing Lab in Paris, an exhibition showcasing the works of four artists’ experimental approach to drawing, selected by a jury.

Keita Mori, Bug Report (corpus), 2015

The artistic programme of Drawing Lab Paris for 2017 has been established by an independent artistic committee made up by Daria de Beauvais, curator of Palais de Tokyo, Agnès Callu, heritage curator at the Decorative Arts Museum in charge of the Drawing department, Sandra Hegedüs, founder of the SAM Art Projects and art collector, Marc Donnadieu, curator and head of contemporary art at LaM (Lille Metropole Musuem of Moderne Art), contemporary art and Art Brut, and Philippe Piguet, art critic and independant exhibition curator.

Other selected artists include Deborah Bolsoni (1975, Rio de Janeiro), Gaëlle Chotard (1973, Montpellier), and artist duo Pia Ronde and Fabien Saleil (1986, Grasse / 1983, Ségur).

Artist Keita Mori in his studio

Art critic Victor Mazière explains the “hyper-spaces” of the Japanese artist :

Keita Mori has developped over the past years a technique of drawing in space, using taut threads, that he sticks direcly on the wall or on plain canvas. Influenced by conceptual art, he works in decontruction or relation esthetics; as a semionaut, he views the world as an ensemble of signs and possible configurations, beyond that which language can describe or the eye can perceive. He transcribes into a form this network of connections, in which the visible and invisible interchange, and in which the vibes surrounding us secretly spin their web on the walls of our terrestrial dwellings. The thread becomes a line that materialises the diagram of a hyper-space otherwise unperceptible to the senses, and which the fragile presence thus comes to “stick” itself onto our immediate environment, as if parellel universes were to merge. The line is for Keita Mori a tool both of sculpture in space and of a meaningful tracing. It would be better to speak of outline rather than line, since the “stroke” of the thread is not printed onto the surface, but hovering just above, both spearated from this surface and merged with it, materialising the relation of junction and disjunction in which two concurrent worlds share a space as fine as a thread.

Bug Report (Potemkin Stairs), 2015 (image courtesy Maison Bleu Studio)

Translated text and composition © Maison Bleu Studio