Izumi Kato

Perrotin Seoul presents a solo exhibition by Japanese contemporary artist Izumi Kato. This marks his second solo show at the gallery, following his first in 2018. Born in 1969 in Shimane, Japan, Kato gradu- ated from Musashino Art University in 1992 and has since been based in Hong Kong and Tokyo. Beginning his career in painting, he has expanded his practice to include works made with natural materials such as wood and stone, creating primitive and totemic forms. Kato’s work challenges conventional notions of painting and sculpture, offering a fresh perspective that invites contemplation on the essential and conscious dimensions of art. Centered on the artist’s new works, this exhibition offers a visual exploration of the nature of human existence and a sense of universal human sensitivity.

Hailing from Japan’s Shimane Prefecture, artist Izumi Kato regularly depicts peculiar creatures that resemble humans. These lifeforms are characterized by heads that seem large in proportion to their bodies and eyes drawn with particular emphasis, as well as arms and legs that tend to taper off, ambiguous; our imagination, here, turns toward extraterrestrial beings, or perhaps spirits belonging to the natural world. Having studied oil painting at Musashino Art University, Kato initially expressed these forms as two-dimensional paintings, gradually expanding his practice into three dimensions over time by incorporating various materials like wood, stone, cloth, soft vinyl, and plastic models, as well as exploring different modes of expression like painting directly onto kimonos.

Born in 1969 in Shimane, Japan, Izumi Kato lives and works between Tokyo and Hong Kong. Children with disturbing faces, embryos with fully developed limbs, ancestor spirits locked up in bodies with imprecise forms—the creatures summoned by Kato are as fascinating as they are enigmatic. Their anonymous silhouettes and strange faces, largely absent of features, emphasize simple forms and strong colors; their elementary representation, an oval head with two big, fathomless eyes, depicts no more than a crudely figured nose and mouth. Bringing to mind primitive arts, their expressions evoke totems and the animist belief that a spiritual force runs through living and mineral worlds alike. Embodying a primal, universal form of humanity founded less on reason than on intuition, these magical beings invite viewers to recognize themselves.

Since the 2000s, he has garnered attention as an innovative artist through exhibitions held in Japan and across the world. In 2007, he was invited to take part in the 52nd Venice Biennale International Exhibition, curated by Robert Storr.