Reflections on the Exhibition of Art in You

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Tatsuo Miyajima’s work exhibits his understanding of life, and this is how I understand it. Buddhism is reflected in his choice of figures in his works. Each number is determined by the dice on the ground as it happens, and this is the Buddhist word for karma.

9-1

Among the exhibits on the second floor. The numbers on the face wall keep jumping, from 9-1. But no 0’s appear, just the monitor going off. It is also a manifestation of death. Disappearing. The numbers in different positions, beating at different rates, may indicate that the time is different for each person.

The entire exhibition hall starts with the figures on the walls on the first floor to give an initial idea of his work. Then, on the second floor, we go deeper. This sequence makes it easier to understand the meaning of his works.

At the end, this representation of the artist with figures and disappearances tells a sad story in a way that is not sad.

THE SOUL OF THE SOULLESS CITY

THE SOUL OF THE SOULLESS CITY

“THE SOUL OF THE SOULLESS CITY” is an abstract painting of New York painted by C.R.W. NEVINSON in 1920. The railroad crosses the city and reaches into the sky along with the buildings. Square-shaped buildings rise from the ground to obscure the sky. The hardness of metal and concrete fills the picture. It is interesting to note that the painting was titled “NEW YORK – AN ABSTRACTION” when it was first exhibited in New York in 1920. But the name was changed to the present one when it was exhibited in London in 1925.

The rapid growth of the city and the railroad that runs through it in this painting represent a fervent love of elements such as speed and technology. The trains and industrialized towns symbolize man’s conquest of nature through technological advancement. This is exactly what futurism is looking for.

Reflections on the Exhibition of Man and Beast

Man and beast is the work of writer Francis Bacon mixed with his own life experiences. Through the study of the habits of the same object, it is

combined with the behavior of human like.Because of his experience as an interior designer, his works are filled with depictions of space.

Head I (1948) Oil and tempera

Head I, an interior scene is depicted through a corner of the ceiling and a white balustrade in the background. The only recognizable ear in the painting seems to represent that it depicts a person. The sharp teeth and blurred face make it impossible to tell whether it is a human or an animal. The corner of the ceiling, and the dimly lit interior give a sense of edge.

This work is displayed separately at the beginning of the gallery. In this way, the visitor can feel the style of the author’s work from the moment he enters the room.

The entire exhibition hall unfolds in a linear fashion, with the space moving from small to large, and the lighting in the exhibition hall becoming brighter and brighter, with the works displayed in a sequence from abstraction to near reality and back again. From personal experiences to descriptions of society.

Bacon all felt that he could come closer to understanding the true nature of human beings by observing the unrestrained behavior of animals. Both animals and humans are similar in their nature.

Portcullis House Design

Portcullis House

The building has a peculiar silhouette with a row of tall chimneys. Investigation revealed that its purpose was to recall the Gothic design of the Victorian Palace of Westminster and to echo the chimney of the Norman Shaw Building next door. The chimney itself functions as part of a powerless air conditioning system, enhancing air circulation within the building.